THE 

ESS-PLAgE-RS 
TEXT BOOK 




THE 

"IN STATU QUO" CHESS-BOARD, 

JAQUES^ PATENT* 



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A 



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THE 

CHESS-PLAYER'S 
TEXT BOOK: 



A CONCISE AXD EASY IXTEODUCTIOX TO 
THE GAME. 



Illustrated by Xumerous 



liagrauis of |ii$ti'iit.tik Sitiuitiuits. 



BV 



S 



STAUNTON, 

AUTHOR OP "THE CHESS-PLAYER'S HANDBOOK," " COJIPAXION'," ETC. 



LONDON : 

J. JAQUES & SOX, 102, HATTOX GAEDEX. 




1 

28 
47 



LONDON ; 

ELY PRINTING WORKS, 11, KIRBY STREET, E.G. 



CONTEXTS. 



BOOK I. 

Chap. Page. 
1. Descriptiox of the Chess-board and Men— Arrange- 
ment OF THE Men— Their Movements, &c., &c 1 

The Notation adopted to Describe the Moves . . . . 7 

II. Technical Terms IN Use AMONG Chess-players .. .. 9 

Metliod of Castling 9 

III. Relative Yalue of the Chess Forces 15 

lY. The Lavts of the Game 16 

Y. Hints for an Inexperienced Player 21 

YI. General Rules and Observations 22 

YII. Ending of Games 27 

How to Check-mate with the King and Queen . . . . 27 

How to Check-mate with the King and a-Rook . . . . 29 

How to Checlv-mate witli tlie King and two Bishops . . 33 

The King and two Kniglits 34= 

How to Check-mate with a King, a Bishop, and a Knight 36 

How to Win with a King and a Pawn 39 

How to AYin with the King and two Pawns 49 

The King with a Bishop and Pawn against the King . . 52 

The King with a Knight and Pawn against the King . . 53 
YIII. Endings of Games (ContinueO) 

How to AYin with the King and Queen against the King 

and a Rook . . . . . . . . . . . . . . 55 

How to AYin with the King and Queen against the King, 

Rook, and Pawn 58 

The King and Queen against the King and two minor 

Pieces 59 

How to AVin with tlie King and Queen and Pawn against 

the King and Queen 60 

How to AYin with the King and Queen against the King 

and one or more Pawns 61 

The King and a Rook against the King and a Bishop . . 67 

The King and a Rook against the King and a Knight . . 69 



vi. 



CONTENTS. 



Chap. Page. 
YIII. The King with a Rook and Pawn against the King and a 

Bishop 71 

The King and a Rook and Pawn against the King and a 

Rook, and against the King, Rook, and Pawn, also . . 73 
The King and Rook against the King and one or more 

Pawns 79 

The King and two Rooks against the King and Rook . . 82 
The King with a Rook and Bishop against the King and 

Rook 84 

IX. Endings of Gx^ies— (Continued) 

The King and a Pawn against the King and a Pawn . . 89 
The King and two Pawns against the King and a Pawn. . 90 
Tlie King and two Pawns against the King and two Pawns 96 



BOOK II. 

I. The King's Knight's Opening 101 

The Giiioco Piano 104 

The Scotch Gambit 105 

The Evan's Gambit 108 

11. The King's Bishop's Opening 113 

III. The Queen's Bishop's Pawn Opening 115 

lY. The King's Gambit 116 

The Cunningham Gambit 117 

The Salvio and Cochrane Gambits 118 

The Muzio Gambit 120 

The Algaier Gambit 123 

The King's Bishop's Gambit 124 

Cautions to Cliess-players 127 



PREFACE. 



The following pages were written to accompany the ver}^ 
elegant Chessmen with which the Designers have com- 
plimented the Author by associating his name. 

Being intended only for beginners, they are divested as 
much as possible of whatever might appear perplexing or 
repulsive ; and the examples for study presented in the 
order conceived to be the most natural and easy for 
apprehension. 

To profit full}^ by these examples the learner will do 
well, when he is thoroughly conversant with the pre- 
liminary matter of the first six chapters, to restrict himself 
to the examination of one position at a sitting. Let him 
commence, for instance, with the easy Check-mate of 
Diagram No. 4. and when he quite comprehends the 
object of each move, proceed to the next diagram, and the 
next, and so on through the whole, in the sequence in 
which they appear. He will soon master this series of 
short contests wherein one or two pieces only are engaged 
on each side, and then be in a condition to enter on the 
study of the Openings, when the conflict is begun with 
the full array of both armies in opposition. 

In playing over the several demonstrations his labour 
will be greatly lightened, and his progress facilitated, by 
the use of the Chessmen to which we have alluded. To 
say nothing of their unquestionable superiority in form 



Vlll. 



PREFACE. 



and proportion to all others intended for actual play, the 
happy thotight of distinguishing the Pieces appertaining 
to the King, so that no confusion can arise throughout 
the longest game between the King's Eooks and Knights 
and those belonging to the Queen.* renders them peculiarly 
adapted for the purposes of Chess Analysis : and is of 
itself sufficient, we hope, to entitle them to the preference 
of those amateurs who are seeking to improve their 
play. 

H. STAUXTOX. 



■-"In rbe Registered Chessmen tlif- King's Rook and Knight are dis- 
tingttished from the same Pieces on the Queen's side by a small crown 
stamped on then- sitmmit. 



THE 

CHESS-PLAYER'S TEXT BOOK. 



BOOK /. 



CHAPTER I. 

POSITIOX OF THE CHESS-BOARD AXD AHRAXGEMEXT OF THE 
MEX FOR BATTLE. 

'T-'HE GAME OF Chess is played by two parties, each 



having a mimic army of sixteen warriors, upon a 
board of sixty-four squares. These squares are usually 
coloured white and black alternately, and it has become a 
rule that the Chess-board shall be so placed that each 
party has a ii:li'ite square at his right-hand corner. 

Diagram Xo. 1 exhibits the board and Chess-men duly 
arranged for the commencement of the game. 

Each party, it is seen, has two ranks of men : on the 
first stand the Ofi&cers, or Pieces, as we term them, and 
on the next the Pawns : and, for the purposes of distin- 
guishir^ these forces, the Pieces and Pawns of one party 
are oFa different colon r to those of the other. 




B 



2 THE CPIESS-PLAYER'S 

The eight superior Pieces, on each side, are -. — 




White. 



TEXT BOOK. 



3 



The King and Queen occupy the centre squares of 
the first, or, as it is generally called, the •* royal" line, 
and each is supported by a Bishop, a Knight, and a 
Rook : while in front, before them, stand the eight foot- 
soldiers in a row.* The pieces on the side of the King 
are called the King's, as the King's Bishop, King's 
Knight, King's Eook ; and the Pawns before them, the 
King's Pawn, King's Bishop's Pawn, King's Knight's 
Pawn, and King's Rook's Pawn. In like manner, the 
Pieces and Pawns on the Queen's side are called the 
Queen's.t 

When perfectly conversant with the titles of the men, 
and the proper method of arranging them for battle, 
which, with the assistance of the foregoing diagram, he 
ma}" become in half an hour's practice, the learner should 
acquire a knowledge of the moves and powers of the 
forces, to attain which the aid of some chess-playing 
acquaintance will be found greatly to facilitate him. He 
should then proceed to study the "Notation;" that is 
the method adopted in this country to describe the moves 
made by two players in their conduct of the game. 

The following are the moves of the Pawns and 
Pieces : — 

The Pawn. — The Pawn moves forward in a straight 
line one square at each move, as from h to /(see diagram), 
excepting at the first move of each Pawn, when the 

*Iii disposing the men for play, j'oung players may avoid the very 
frequent error of misplacing their King and Queen by bearing in mind 
that the White King always stands on a Black square, and the Black King 
on a White one. 

t It is not usual in Chess works to describe each piece at length ; the 
following abbreviations are commonly adopted :— 

K for King. 

Q. „ Queen. 

R „ Rook. 

B „ Bishop. 

Kt „ Knight. 

P. . „ Pawn. 



4 



THE CKESS-PLAYEirS 



player may. if he please, advance the Pawn two squares, 
as from / to f. The Pawn captures his adversary 
obliquely in advance of his square : thus, supposing the 
Pawn to he at /. he might capture an adversary df on 
squares g or /. The Pawn cannot move off \lsTIe of 
squares except to capture an adversary as described. 

The Kniuht. — The Knight has the most remarkable 
move of any piece on the board. He moves three squares 
in any direction from the one on which he is placed, and 
IS the only piece allowed to pass over the head of any 
other. The move of the Knight will be more easily 
understood hy referring to the diagram : thus, supposing 
the Knight to he on a square p. he would move onwards, 
either to the right or left. to. /. or or in like manner, in 



DIAGRAM No. 2. 













1 


1 






















! 
















f 






1 

1 






h 


i j 


h 








I 






1 




71 




1 p 


'1 



TEXT BOOK. 



5 



another direction to /. A little practice will readily 
enable the learner to understand this move. 

The Bishop. — The Bishop moves obliquely either 
backwards or forwards, and may move over any number 
of squares if the same are unoccupied. The Bishop, 
however, can only move upon squares of that colour on 
which he stood at the commencement of the game : con- 
sequently one Bishop moves along the Black squares, 
the other along the White. Supposing the Bishop to be 
placed on o. he could move obliquely to /. or to h. 

The Rook or Castle. — The Rook moves in a right 
line either forward, backward, or sideways, to any dis- 
tance along the file of squares, if no other piece intervenes. 
Thus, the Rook at q may move either to h or n. 

The Queen. — The Queens move possesses the moves 
and powers of the Bishop and Rook combined, moving 
either in a straight line or obliquely to any distance, if 
the intervening squares are unoccupied. Thus, supposing 
the Queen on n. the player could move either to a or 
c or 

The King. — The King moves in every direction, but 
only one square at a time, and must always be at least 
one square distance from the adversary's King. Thus 
the King being on h could move to g. e,f. L m. 

A very little diligence will enable him. by the aid of 
the following diagram, to master the system sufficiently : 
but here, as in the case of the powers and movements of 
the men, he will find the assistance of some one well 
grounded in the game of more avail than any written 
description. 



6 



THE chess-player's 



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From the above it will be seen that the eight squares 
which compose the first raiilx on either side, are each dis- 
tinguished by the name of the piece which occupies it 
when the men are first drawn up in battle order. Thus, 
the square on which the King now stands is called the 
King 8 -S(7M«r(?, that on which the Queen stands the Queens 
square^ and so on with the other Pieces. The Jiles^ also, 
that is to say the rows of squares running from top to 
bottom of the board, are designated by the particular 
Piece which occupies the first square — for example, take 



TEXT BOOK. 



7 



the K. B,.'s square. Here the square on which the King's 
Hook stands at starting takes the name of the Officer, and 
is known as the K. E/s square. The next square forward 
on the same file is called, the K.'s B.'s 5;^c?. the next to 
that the K.'s It.'.s 3rd. and so on up to the 8th square. 

As the same mode of describing the squares is adopted 
by both players. White's first rank of squares is Black's 
eighth, and vice versa. A little consideration and practice 
will render this method of notation quite familiar to the 
student. He should begin by setting up the men in due 
array; after a few repetitions, and comparing their positions 
with the first diagram, he will soon be enabled to arrange 
them correctly without referring to the book at all. It 
will then be well for him to clear the board of all but a 
single Piece, and practice with that until perfect in its 
movements : another and another may then be added, 
until the action of every one is as easy to him as the 
alphabet. 

As a first exercise he may begin by playing his Queen 
to her square {i.e.. her jirst square), then play her to Q.'s 
oth square, then (diagonally) to Q."s Hook's 8th square, 
then to Q."s E.'s square, and then home again to her 
square. These directions, abbreviated in the manner 
described at page 3, would stand thus : — 

1. Q . to her sq. 4. Q . to K. E.'s 8th 

2. Q. to her 5th 5. Q. to her E.'s sq. 

3. Q. to her E.'s 8th 6. Q. to her sq. 



* Properly speaking, the squares on the first rani: should be designated 
as "Fu'st," as ''K."s 'Roo'^'^ first square," &c. ; but it is customarytou.se the 
word " square " only in this case, and to omit it and give the number of the 
square instead when the squares of other ranks are mentioned. Thus in 
placing a Knight to K. B.'s 3rd square, we describe the move as merely 
Kt. to K. B.'s 3rd ; but if the Knight were played to K. B.'s 1st square or 
K.'s 1st square, the move would be described as Kt. to K. B.'s square, or Kt. 
to K.'s square. 



8 



THE chess-player's 



As a next exercise, he can place the Kmg"s Rook on 
King's Rook's square, and then play as follows : — 

1. K. R. to his 4th 4. K. R. to K. R.'s 8th 

2. K. R. to Q. R/s 4th 5. K. R. to K. R.'s sq. 

3. K. R. to Q. R.'s 8th 

He might then add the Queen's Bishop, and play thus : — 

1. Q. B, to K. R. s 6th 3. Q. B. to Q. R."s 3rd 

2. Q. B. to K. B.'s 8th 4. Q. B. to his sq. 

By practising with both Pieces and Pawns in succession, 
he will speedily be enabled to go through a game. or. at 
least, an opening of one, from book. Before, however, 
attempting this, it may be well for him to understand the 
technical terms in use among players, the relative value 
of his men, and the code of laws which govern the 
game, &c,, &c. 



TEXT BOOK. 



CHAPTER IL 

TECHXICAL TERMS IX USE AMOXG CHESS PLAYERS. 
CASTLIXCx. 

a general rule, the King can move only one step in 
any direction, at a time, but he has the privilege, 
under certain restrictions, once in the game, of moving 
in conjunction with either of the Books two squares off. 
This compound movement is called Castlhig. and is per- 
formed thus : — The player wishing to Castle on his King's 
side, moves his K'uig to K. Kf.'s sq.. and his K.'s R, to K. 
B's sq. 



BEFORE CASTLING ON KING'S SIDE. 




AFTER CASTLING ON KING'S SIDE. 




If he Castle on the Q.'s f^kle then he plays the King to 
Q. B.'s sq.. and the Q.'s Boole to Q.'s sq. 



BEFORE CASTLING ON QUEEN'S SIDE. 




AFTER CASTLING ON QL'EEN'S SIDE. 




The restrictions to this operation are : — 

1st. The King must not be in check. 

2nd. The King must not have moved. 

3rd. The Rook he Castles with must not have moved. 



10 



THE chess-player's 



4th. The King must not pass over or on to any square 
attacked by an enemy ; and 

5th. There must be no Piece either of his own or his 
adversary's between the King and the Eook he Castles 
with."^ 

CHECK AND CHECK-MATE. 

When the King is attacked by any Piece or Pawn he is 
said to be in chech; for it being a fundamental principle 
of the game that the King can never be taken, whenever 
any direct attack is made upon him. the pla^^er must be 
warned of his danger by the cry of check, whereupon he 
is compelled to do one of three things : viz., to remove his 
King out of chech or parry the danger by interpos'uig a man 
hetirern Jiis King and the attacJcing Piece, or capture the 
cheching man. 

When he can do none of these three things he is Check- 
mated, and the game is won by the other side. 

If the King is directly attacked by the enemy, it is 
called a simple chech ; when the Piece or Pawn moved 
does not itself attack the King, but unmasks another 
which does, it is called a discovered check ; and when both 
the Piece played, and the one unmasked, attack the King, 
they are said to give double chech. There is also a fourth 
description of check, known as perpetucd chech, which 
arises when a player has two or more squares on which 
he can check the adverse King, and his opponent can 
only parry one check by affording an opportunity of 
another. If the checking player choose to persist in a 
repetition of those particular checks, the game must be 
abandoned as drawn. 

STALE -MATE. 

When a player has his King so circumstanced that, not 

being at the moment in check, he cannot move him without 

* The act of Castling, like the ordinaiy moves, is best learned from the 
practical exemplification of a player; but as yonng amateurs are fre- 
quently at issue as to the conditions, we have thought it better to describe 
this movement fully, as well as by diagrams. 



TEXT BOOK. 



11 



putting him in check, and at the same time has no other 
Piece or Pawn to move instead, he is said to Stale-mated, 
and the game must be relinquished as a drawn battle. 

DKA'YX GAMES. 

In addition to the instances just cited, where the game 
is drawn by i:)trpetual check or stale-mate, a drawn game 
may arise from neither party having sufficient force left 
to effect a Check-mate, as a King and a Kt. only, or a King 
and two Knights, &c. The game is considered drawn, 
too, when one party, having sufficient force left, is 
ignorant of the proper way to apply it, and fails to 
Check-mate his helpless opponent within the fifty moves 
prescribed by the 22nd law. It is drawn also where both 
parties persist in repeating the same move from fear of 
each other, or where they are left at the end with an 
equal force, as a King and Queen against a King and 
Queen, or a King and Pook against a King and Pook ; 
when, except in peculiar cases, the game is resigned as 
null. 

SMOTHERED OR STIELED MATE. 

A Check-mate which is occasionally given by the Kt. 
when the adverse King is hemmed in or stifled by his own 
forces. 

eool"s mate. 

The simplest and speediest of all Check-mates, being 
effected in two moves, ex. gr.: — 

WHITE. BLACK. 

1. P. to K. Kt.^s Ith 1. P. to K."s 4th 

2. P. to K. B."s -Ith 2. Q.toK.P.'s5th.Check-mate 

scholar's mate 
Is a Check-mate occasionally given at the outset of a 
game to an inexperienced player, thus : — 

^VHITE. BLACK. 

1. P. to K."s -Ith 1. P. to K."s 4th 

2. K. B. to Q. B."s 4th 2. K. B. to Q. B.'s 4th 

3. Q to K. R. s 5th 3. P. to Q. s 3rd 

4. Q. takes K. B.'s P. Check-mate. 



12 



THE CHKSS-PLAYER'S 



GAMBIT 

Is derived from an Italian phrase in wrestling, and signi- 
fies a feint by which the adversary is tripped up. In 
Chess it is used to designate those openings in which a 
Pawn is sacrificed at the beginning, for the purpose of 
leading the enemy into difficulties. The most important 
Gambit, and one which includes several others, is called 
the King's Gambit, begun as follows : — 

WHITE. BLACK. 

1. P. to K."s 4th 1. P. to K.'s 4th 

2. P. to K. B."s 4th 2. P. takes P. 

The Pawn thus offered for capture by AVhite is called 
the Gambit Pawn, and when it is taken by the adversary 
the opening becomes a Gambit. 

GIUOCO PIAXO. 

An instructive modification of the King's Kt.'s game, 
beginning thus : — 

WHITE. BLACK. 

1. P. to K.'s 4th 1. P. to K.'s 4th 

2. K. Kt. to B.'s 3rd 2. Q. Kt. to B.'s 3rd 

3. K. B. to Q. B.'s 4th 3. K, B. to Q. B.'s 4th 

TAKING A PAWN EN PASSANT OR IN PASSING. 

Is the privilege which a Pawn has of taking an adverse 
Pawn which passes it. by making two steps on the first 
move.* 

QUEENING A PAVS'N OR ADVANCING A PAVS'N TO QUEEN. 

When a player has managed to advance a Pawn to the 
the eighth or extreme square of a file, it assumes the 
rank and power of a Queen, or any other officer he thinks 
best ; and this called Queening a Pawn. (See the 21st 
law.) 

PASSED PAWN. 

A Pawn which cannot be obstructed in its march by 
any adverse Pawn, is said to be a Passed Pawn. 

* When learning the moves of a player, the young practitioner should 
make himself thoronghly master of this peculiarity, wliich is a constant 
sonrce of error and misunderstanding among the inexperienced. 



TEXT BOOK. 



13 



DOUBLED PAAYN. 

When two or more Pawns belonging to the same 
player are on the same file, the foremost one is termed 
a Doubled Pawn. 

ISOLATED PAWN. 

A Pawn which stands alone, without support and pro- 
tection from his brother Pawns, is called an Isolated 
Pawn. 

MARKED PAWN, OR PIOX COIEFE, 

Is a peculiar game, in which one party undertakes to place 
a cap or ring on one of his Pawns, and to check-mate his 
adversary with that identical Pawn. 

EN PRISE. 

When a Piece or Pawn is in a situation to be taken by 
the enemy, it is said to be en prise. 

FORCED MOVE. 

Where a player has one legal move only at his com- 
mand, it is called a forced more. 

PALSE MOVE. 

An illegal move, such as playing a Rook diagonally, a 
Bishop like a Knight, or Castling when the King is in 
check, or after he has been moved, is termed a false 
move. 

THE EXCHANGE. 

If a player contrive to gain a Rook for a Bishop or a 
Knight, he is said to have iro)i the exchcuige. 

MINOR PIECES. 

The Bishop and Knight, in contra-distinction to the 
Queen and Rook, are described as minor pieces. 

THE OPPOSITION. 

A player is said to gain the Opposition when he has so 
manoeuvred his King as to compel the adverse King to 
retreat or abandon the advantageous squares. 

PARTY. 

Derived from the French word pctrtie. and occasionally 
used instead of "game." 



14 



THE chess-player's 



TO INTERPOSE. 

When the King is checked, or any valuable Piece 
attacked, the man placed between to ward off danger is 
said to be inter posecL 

j'adoube. 

An old French expression, signifying '* I adjust," or 
I replace," used by a player when he touches a man 

merely to rectify its position, without intending to play 

it. (See law 7th.) 

RANK AND FILE. 

The row of squares running from right to left are called 
rcuik.s. while those which run from player to player are 
termed files. 

SEIZING THE OPEN PILE. 

When a player takes command of an unoccupied file of 
squares by planting his Queen or a Rook at one end of it, 
it is customary to sa}' that he seized the open file. 



TEXT BOOK. 



15 



GHAPTEE III. 

RELATIVE TALUE OF THE CHESS FORCES. 
THE KIXG. 

the King can neither be exchanged nor captured, 
his relative A^alue with the other Pieces cannot be 
estimated. 

THE vQUEEX. 

The average value of the Queen is considered equivalent 
to two Rooks and a Pawn. 

A ROOK. 

A Eook is estimated of the worth of a Bishop and two 
Pawns, or a Knight and two Pawns. Two Rooks may be 
exchanged for three minor Pieces. 

A BISHOP AXD A KXIGHT. 

These Pieces, practically considered, are of equal value, 
though the advantage, if there is any, is thought to be on 
the side of the former. 

A PAWX 

Stands lowest in the scale of powers, being usually cal- 
culated at about one-third the value of a Bishop or a 
Knight. 



16 



THE chess-player's 



CHAPTER IT. 

THE LAWS OF THE GAME. 

-^j^HE f olloTving laws, with some trifling variations, have 
been in general use for the last fift}' years. A few 
years since they were revised by a Committee of the 
London Chess Club, established in 1807. and are now 
universally adopted by all the Chess Clubs of Great 
Britain. 

I. 

The Chess-board must be so placed that each player 
has a white corner square nearest his right hand. If the 
board have been improperly placed, it must be adjusted, 
provided four moves on each side have not been played, 
but not afterwards. 

II. 

If a Piece or Pawn be misplaced at the beginning of 
the game, either player may insist upon the mistake 
being rectified, if he discover it before pla3'ing his fourth 
move, but not afterwards. 

III. 

Should a player, at the commencement of the game, 
omit to place all his men on the board, he may correct 
the omission before playing his foui^th move, but not 
afterwards. 

lY. 

If a player, undertaking to give the odds of a Piece or 
Pawn, neglect to remove it from the board, his adversary, 
after fuur moves have been played on each side, has the 
choice of proceeding with or recommencing the game. 

Y. 

When no odds are given, the players must take the 
first move of each game alternately, drawing lots to 



TEXT BOOK. 



17 



determine who shall begin the first game. If a game be 
drawn, the player who began it has the first move of the 
following one. 

VI. 

The player who gives the odds has the right of moving 
first in each game, unless otherwise agreed. Whenever a 
Pawn is given, it is understood to be always the King's 
Bishop's Pawn. 

VII. 

A Piece or Pawn touched must be played, unless at the 
moment of touching it the player say, J'adouhe^' or 
words to that effect ; hut if a Piece or Pawn he displaced 
or overturned hy accident it ma?/ he restored to its place. 

VIII. 

While a player holds the Piece or Pawn he has touched, 
he may play it to any other than the square he took it 
from ; but having quitted it. he cannot recall the move. 

IX. 

Should a player take one of his adversary's Pieces or 
Pawns without saying ^'J'adouhe,'' or words to that effect, 
his adversary may compel him to take it ; but, if it cannot 
be legally taken, he may oblige him to move the King ; 
should his King, however, be so posted that he cannot be 
legally moved, no penalty can be inflicted. 

X. 

Should a player move one of his adversary's men, his 
antagonist has the option of compelling him — 1st, to 
replace the Piece or Pawn, and move his King ; 2nd, to 
replace the Piece or Pawn and take it ; 3rd, to let the 
Piece or Pawn remain on the square to which it had been 
played, as if the move were correct. 

XI. 

If a plaj^er takes one of his adversary's men with one 

of his own that cannot take it without making a false 

move, his antagonist has the option of compelling him to 

c 



18 



THE CHES>S-PLAYER'S 



take it with a Piece or Pawn that can legally take it, or to 
move his own Piece or Pawn which he touched. 

XII. 

Should a player take one of his own men with another, 
his adversary has the option of obliging him to move 
either. 

XIII. 

If a player make a false move — i.e.. play a Piece or Pawn 
to any square to which it cannot legally be moved, his 
adversary has the choice of three penalties — viz.. 1st, of 
compelling him to let the Piece or Pawn remain on the 
square to which he played it ; 2nd, to move correctly to 
another square ; 3rd, to replace the Piece or Pawn and 
move his King. 

XIV. 

Should a player move out of his turn, his adversary may 
choose whether both moves should remain, or the second 
be retracted. 

XV. 

When a Pawn is first moved in a game, it may be played 
one or two squares ; but in the latter case the opponent 
has the privilege of taking it eii passant with any Pawn 
which could have taken it had it been pla^^ed one square 
only. A Pawn cannot be taken e)i passaiit by a Piece. 

XVI. 

A player cannot Castle in the following cases : — 

1. If the King or Hook have been moved. 

2. If the King be in check. 

3. If there be any Piece between the King and the 

Rook. 

4. If the King pass over any square attacked by one 

of the adversary's Pieces or Pawns. 
Should a player Castle in any of the above cases, his 
adversary has the choice of three penalties, viz., 1st, of 
insisting that the move remain ; 2nd, of compelling him 



TEXT BOOK. 



19 



to move the King ; 3rd. of compelling him to move the 
Rook. 

XVII. 

If a player touch a Piece or Pawn that cannot be moved 
without leaving the King in check, he must replace the 
Piece or Pawn and move his King ; but if the King cannot 
be moved, no penalty can be inflicted. 

XYIII. 

If a player attack the adverse King without saying 
Check," his adversary is not obliged to attend to it : but 

if the former, in playing his next move, were to say 
Check." each player must retract his last move, and he 

that is under check must obviate it. 

XIX. 

If the King has been in check for several moves, and it 
€annot be ascertained how it occurred, the player whose 
King is in check must retract his last move and free his 
King from the check : but if the moves made subsequent 
to the check be known, they must be retracted. 

XX. 

Should a player say " Check " without giving it, and his 
adversary, in consequence, move his King, or touch a 
Piece or Pawn to interpose, he may retract such move, 
provided his adversary has not completed his last move. 

XXI. 

Every Pawn which has reached the 8th or last square 
of the chess-board must be immediately exchanged for a 
Queen, or any other Piece the player may think fit. even 
though all the pieces remain on the board. It follows, 
therefore, that he may have two oi: more Queens, three 
or more Rooks. Bishops, or Knights. 

XXII. 

If a player remain at the end of the game with a Rook 
and a Bishop against a Rook, with both Bishops only, 
with Knight and Bishop only, &c., he must Check-mate 



20 



THE CHESS-PLAYEK's 



his adversary in fifty moves on each side at most, or the 
game will be considered drawn ; the fifty moves com- 
mence from the time the adversary gives notice that he 
will count them. The law holds good for all other 
Check-mates of Pieces onl}', such as Queen, or Rook 
only, Queen against a Rook, &c., &g. 

XXITI. 

If a player agree to Check-mate with a particular Piece 
or Pawn, or on a particular square, or engage to force his 
adversary to Stale-mate or Check-mate him, he is not 
restricted to any number of moves. 

XXTY. 

A Stale-mate is a drawn game. 

XXV. 

If a player make a false move, Castle improperly. &c.. 
&c., the adversar}^ must take notice of such irregularity 
before he touches a Piece or Pawn, or he will not be 
allowed to inflict any penalt3\ 

XXV. 

Should any question arise respecting which there is no 
law, or in case of a dispute respecting any law, the 
players must refer the point to the most skilful dis- 
interested bystanders, and their decision must be con- 
sidered as conclusive. 



TEXT BOOK. 



21 



CHAPTEE T. 

A FEW HIXTS FOR AX IXEXPERIEXCED PLAYER. 

gEFORE commencing a game be very careful that the 
men on both sides are in their proper places. 

2. Habituate yourself to play indiiierently either with 
the white or black men. 

3. As nothing conduces so much to improvement as 
playing with fine players, never lose an opportunity of 
doing so by the silly pride of refusing to take odds. 

4. Play invariably according to the strict laws of the 
game : neither recalling a move yourself, nor permitting 
your adversary to retract one. 

5. Do not acquire the bad habit of hovering with your 
hand over the board : it annoys your opponent, and will 
beget, on your own part, a feeble, hesitating style of play 
that is fatal to excellence. 

(3. Learn to play slowly : 

other graces 

Will follow in theii- proper places." 

7. Exhibit no impatience when your adversary moves 
slowly : but look upon his tardiness as a compliment to 
your skill. 

8. Never play too many games at a sitting. 

And. lastly. When your game is hopeless, surrender at 
once, and with a good grace, and do not permit the loss of 
it to discompose you over much. 



22 



THE CHES.^-PLAYER's 



CHAPTER TL 

GENERAL RULES AXD OBSERVATIONS. 

^P'HE KING* — Beware of playing your King out early 
in the game, but rather Castle at once, and generally 
on the King's side. Be careful, however, when you have 
so Castled, of permitting an adverse Knight to gain pos- 
session unmolested of your K. Bishop's 4th sq.: and }iev(n\ 
irithoui due cons'/deratfnti, be tempted to throw forward 
the Kt.'s and Book's Pawns on the side you have Castled. 

When your King is checked, it is better mostly to in- 
terpose a man that attacks the checking Piece, than one 
that simph' covers the check. 

Avoid, if possible, subjecting your King to a discovend 
checlc. 

Do not be over fond of giving check to the adverse 
King : but when by so doing you can force him to move. 
and thus previrnt liix Cuj^tUug, it is frequently desirable to 
check him. 

Always bear in mind that however dangerous it may be 
to play the King into the field during the heat of the 
fray, when the superior Pieces are exchanged, he should 
be brought immediately to the support of your Pawns : the 
fate of the game in such cases being generally dependent 
on the rapidity and skill displayed in manoeuvring this 
then important auxiliary. 

The Queen* — It is rarely good to play the Queen out 



TEXT BOOK 



23 



early, because she is liable to attack from inferior 
enemies, and. in retreating her. many moves are lost. 
Besides, her power is so much greater when she is sus- 
tained by other pieces, that to make an attack with her 
alone is highly injudicious. 

Be cautious of playing her in front of your King; and 
never employ her to protect or attack any point, if you 
can do the same as well with a subordinate. 

The Rook has not much scope for action at the open- 
ing of the game, but towards the end he becomes an all- 
important officer. 

One of the strongest inducements to a good player for 
bringing out the other pieces early is that his Rooks may 
come into play. 

When the game is tolerably developed, it is frequently 
desirable to get command of an opt n nl^ by planting a 
Rook at one end of it : and when possession is thus 
obtained, if your adversary endeavour to dislodge you 
by playing one of his Rooks on the same file, you should 
defend the one Rook with your other, rather than ex- 
change Rooks, or give up the position. This is technically 
termed Doubling the Rooks : and placed thus one before 
the other on the same file, where they can mutually 
sustain one another, they are as strong as a Queen. 

The Bishop. — When each party begins by playing his 
K.'s Pawn to K."s 4th sq.. the King's Bishop is considered 
somewhat superior to the Queen" s. since it can be brought 
into the game at once, and placed so as to attack the 
adversary on his weakest point — the K. Bishop's Pawn. 
If, while in this position, your adversary challenges an 
exchange of Bishops by moving his Q. Bishop to K.'s 3rd. 
it is not always desirable to exchange, because, although 
you double two of his Pawns on the King's file, you give 
him, at the same time, an opening for his King s Rook 
when he Castles, 



24 



THE chess-player's 



Seldom or never play your King's Bishop to Q/s 3rd 
before the Q/s Pawn is moved, and, as a general rule, 
v:hen plcuj'nig an open game, do not move the Q.'s Pawn one 
step only hf^fure you bring out the K."s Bishop, as you 
thereby afford him but the Khigs 2ncl square to go to. 

When the other pieces are off the field, and you are left 
with a Bishop and two or three Pawns, it is often 
advisable to keep your Pawns on squares of a different 
colour to those on which your Bishop moves, as he can 
then prevent the adverse King from coming near them ; 
hut v:hen the game is deckledlp against yon it is generally 
better to keep the Pawns on squares which the Bishop 
can defend. 

When strong in Pawns at the end of a game, tr^^ to 
exchange off the enemy's Bishops, since they can impede 
the march of your Pawns more readily than either the 
Books or Knights : but do not incUscrimr/nitebj change your 
Bishops for Knights, or Knights for Bishops. Two Bishops 
at the ttrndndtion (f a game are stronger than two K?iights, 
and o)ie Knight usually hettf^r thanla singte Bishop. 

Towards the end. when 3'ou hare Pannis o?dy against an 
opponent's Bishop, it is mostl}^ prudent to get the Pawns 
as soon as possible on squares of a different colour to the 
diagonal he travels on. 

The Knight* — At the opening of a game the best place 
for the K.'s Knight is K. B's 3rd sc}.. for it there attacks 
your adversary's K.'s P.. if it has been moved to K.'s 4th, 
offers no obstruction to the march of your K.'s Bishop, 
and effectually prevents the opponent's Queen from being 
played to your K. B.'s 4th sq. 

When you have played your Q.'s Kt. to K. B.'s 3rd sq.. 
it is often serviceable to bring him round by K.'s 2nd to 
the K. Kt.'s 3rd. whence he may be moved at a proper 
juncture to K. B.'s 5th. 

Remember that a Kt. with three or four Pawns at the 



TEXT BOOK. 



25 



conclusion of a game is somewhat superior to a Bishop 
with an equal number of Pawns, since he can spring 
from White to Black, and thus attack on either coloured 
squares, whereas the Bishop can attack only on squares of 
the colour on which he moves. 

The Pawn. — It is advisable generally so to play your 
Pawns that they shall not retard the movements of your 
own Pieces, and yet obstruct as much as possible those of 
your antagonist. Most players, therefore, strive to occupy 
the centre squares of the board with their Pawns pretty 
early in the game ; but you should not be too eager to 
advance two Pawns abreast in the middle of the field until 
you are ahle to maintain them there, either irith superior 
Pieces or other Pa urns. 

When you have two Pawns so advanced, should the 
adversary attack one of them with a Pawn of his. it is 
sometimes better to push the Pawn attacked another 
square than to take his Pawn, but you must always be 
careful of advancing your Pawns too far. because, unless 
supported, they are almost sure to fall. Pawns, in the 
game, are usually better at their fourth square than early 
at their sixth. 

In an open game — that is. where both parties play P. to 
K."s 4:th at the beginning — it is not generally prudent to 
move the K. Kt.'s Pawn or Q. Kt.'s Pawn early in the 
opening, but you may do so advantageously in most of the 
debuts. 

As your K. B.'s Pawn is the most vulnerable point, 
always have an especial eye to that, until, by Castling on 
your K."s side, you have given it the support of a B. as 
well as the K. : and after Castling, be wary of advancing 
the Kt.'s Pawn that is before your K. 

When your Pawns stand in a line. diago/ialli/.Va.'ke more 
than ordinary care to preserve the topmost Pavrn. and never 



26 



THE CHESS player's 



forget that Paunis ludted have great poicer, and isolated, very 
little. 

Be careful of advancing your Pawns far forward on 
either side until you see on which side your adversary 
Castles. 

Keep in mind that a passed Pawn is an advantage 
almost always, when supported by another Pawn : that a 
Doubled Pawn is not in ever}^ case a disadvantage, if 
united with other Pawns ; that a Pawn being less in value 
than a Piece, it is mostly better to defend with it than 
with the latter, and that tiro Pairui> hi anij ii'ttuatlon can 
protect themselves agahist a Kh/g ; and. finally, forget not, 
when the end of the game approaches, where you have 
Pawns, or even a Pawn against a minor Piece, thrtt you 
may irin, hut that you)' (intagonist, except hi the rarest caseSy 
■never can. 



TEXT BOOK. 



27 



CHAPTER TIL 

EXDIXG OF GAMES. 

jgEFORE proceeding to the study of Tvorks which treat 
of the several Openings, or systematic methods of 
beginning a game, it will greatly help to familiarise you 
with the powers of the Pieces if you devote a few hoars 
to the consideration of the simpler class of Check-mates — 
that is to S2ij. those where one party is left with his King 
alone against a King and Queen, a King and Rook, and 
the like, 

HOW TO CHECK-MATE WITH THE KING AND QUEEN. 

This is one of the easiest of all Check-mates : for. in 
the most adverse position for the King and Queen you can 
devise, they can force Check-mate in nine moves. The 
quickest way to proceed is b}^ confining the solitary King 
to one side of the Chess-board with your Queen, and then 
bringing up your King to face him. after which Check- 
mate follows immediately. A very little practice with a 
friend will enable you to accomplish it. There is one 
danger, however, you must be warned of, namely, that of 
giving Stale-maie instead of Check-mate, an error young 
players are very apt to fall into when their opponent has 
only his King left. Take, for example, the following^ 
simple situation : — 



28 THE chess-player"s 



DIAGRAM No. 4. BlACK. 




"White. 



Here we find (see the remarks on Notation, page 5) that 
the White King is at his Kt.'s 5th sq.. the White Queen 
at King's Kt.'s s j.. and the Bhick King at his Rook's sq. 
Xow at this ponit an experienced player would see at a 
glance that Check-mate can be given in two moves, and 
would play first. King to his Bishop's tith sq.. and then, 
when the Black King moves to K. Rook's '2nd (the only 
square open to him) would move Queen to K. Kt.'s 7th 
sq.. giving Check-mate : but the tyro, having an eye only 
to imprisoning the Black King, would perhaps play his 
King to Rook's i3ih. instead of to Bishop's <_kh sq.. leaving 
the adverse King in the situation of Stalt-/nate. (iSee 
Stale-mate, page 10.) 

To accustom you to the //"A///''/^ it may be well when, 
by the assistance of a Chess-playing friend, you thorotighly 
comprehend the method of etfecting Check-mate with the 
King and Queen, for you to write out the above situation, 
with the solution, in the abbreviated form adopted by 



TEXT BOOK. 



29 



English writers on the game. They Tvould stand thus :— 

IVHITE. POSIUOII. BLACK. 

K. at his Kt.'s 5th. K. at his E.'s sq. 
Q. at K. Kt.'s sq. 
White to play first, and Check-mate* in two moves. 

TTHTTE. Solution. BLACK. 

1. K. to his B.'s 6th. 1. K. to E.'s 2nd. 

2. Q. to K. Kt.'s 7th. Check-mate. 

HOW TO CHECK-MATE WITH THE KING AND A ROOK. 

This, like the preceding, is an easy Check-mate, and may 
be mastered in a very short time. In the most f avom^able 
position the single King can take up. he cannot protract 
the Check-mate beyond eighteen or nineteen moves. 

The annexed diagram. Xo. 5. and solution will show this 



plainly : — 

DIAGRAM No. 5. BlACK. 




White. 



* In nine cases our of ten even the word Ciitrk-raatt is abridged, and 
Mate adopted in its stead ; btit Stale-mate is always -written in ftill. 



30 



THE CHESS-PL AYE R"< 



The position here, described in writing, would be given 

thus : — 

TrHITE. BLACK. 

K. at his sq. K. at his sq. 

K. K. at his sq. 

And the system of play to be adopted for effecting the 
Check-mate most speedily is the following : — 

^'HITE. BLACK. 

1. K. R. to his 7th. 1. K. to his B.'s sq. 

(The object of this move, you will (He might move to Q.'s s(i., but, as 



readily perceive, is to restraiu the 
movements of the Black King to 
the extreme rank of squares; he 
would otherwise be enabled to 
march about tlie board, and delay 
the Check-mate considerably. > 

2. K. to his 2nd. 



you will soon understand, that 
would hasten his defeat.) 



2. K. to his Kt."s sq. 

< Having so confined the adverse ( He gains a httle time by this move, 



King that he can parade only 
backwards and forwards on the 
last rank of squares, you hasten to 
bring your King up to assist in 
giving the Check-mate.) 

3. R. to Q. E."s 7th. 

4. K. to K. s 3rd, 

< Your Rook being now secure for a 
few moves. y<:aT proceed to march 
foi'ward wiih ytinr King, i 

5. K. to K."s 4th. 

6. K. to Q."s bxh. 

7. K. to Q.'s 6rh. 



8. E. to K. E.'s 7th. 
^ 9. E. to K. Kt. s 7th. 

< This move of the Rook is indispen- 
sable. Check-mare can only be 
given iclien the Kinos are foxino 
each other,- nvid you now compel 
Black to take up that position in 
three or fom- moves.) 



since you are compelled to save 
your Rook by flight.) 



3. K. to K. B.'s sq. 

4. K. to K.'s sq. 



5. K. to Q.'s sq. 

6. K. to Q. B.'s sq. 

7. K. to Q. Kt. s sq. 

( His only hope of delay is by thus 
attacking the Rook, when he can 
reach him. i 

8. K. to Q. B.'s sq. 

9. K. to Q. Kt.'s sq. 

(If he moves opi:>osite the WJiite 
King, Check-mate follows next 
move. ) 



TEXT BOOK. 



31 



TA^HITE. BLACK. 

10. K. to Q. B.'s 6th 10. K. to E.'s sq. 

11. K. to Q. Kt."s 6th. 11. K. to Kt.'s sq. 

(He is now obliged, liaviiig no 
other move, to face the opposing 
King.) 

12. E. to K. Kt.'s 8th. Check-mate. 

From these examples you will observe that to Check- 
mate either with the Queen or Eook it is necessary, as 
was before remarked, to drive the adverse King to one 
of the four sides of the Chess-board, and then march 
your own King up to confront him. AYhenever you can 
bring the two Kings face to face, with one square 
only between them, and have the move, you may be sure 
of the game. In the subjoined position, Diagram Xo. 6, 
che Kings are so placed ; and, although the Eook is 



DIAGRAM No. 6. BlACK. 




White. 



32 



THE chess-player's 



behind, or luashpcl by his own King. White can Check- 
mate in three moves. Write out the situation of the 
men. and the moves by which the Check-mate is given 
thus : — 

Positfoti. 

WHITE. BLACK. 

K. at his 6th. K. at his sq. 

E. at his K.'s 4th. 
White to play first, and Check-mate in three moves. 
Solui'/on. 

WHITE. BLACK. 

1. R. to K.'s sq. 1. K. to Q."s sq. 

(This is what players reclmically ( If he go to his B.'s sq. vou play your 

call a coiip <ir ri jios : rlie purpose Rook to K. Kt.'s sq., and by thus 

of it is to force Black to move commanding all the squares on 

either to right or left, and then, that file, compel him to go back 

by cutting him off from escape, on again.) 
whichever side lie goes, oblige him 
to return and face the AVhite King 
again. ) 

2. R. to Q. B.'s sq. 2. K. to his sq. 

(You seizp rommaud of the open file 
by this move, and leave the King 
no M[uare but his own to tly to. ) 

3. R. to Q. B.'s 8th. Check-mate. 

By setting up these Pieces in simihir situations, and 
finding out the way to give the Check-mate a few times, 
you triU dlscnvi'V the pri/iciplf, and. knowing that, are not 
likely to have much difficulty in dealing the coiq} de grace, 
when you are fortunate enough to be left with such an 
advantage against an opponent. 

This, however, is only an occasional case : it will 
generally happen that your adversary, even when you 
have a preponderance of power, has some man left upon 
the board besides his King, and when he has. the difficulty 
of Check-mating him is much enhanced. We shall give 
you ssveral examples of this anon : in the meantime we 
proceed to show : — 



TEXT BOOK. 



33 



HOW TO CHECK-MATE WITH THE KING AND TWO BISHOPS. 

Place the men as below : — 

DIAGRAM No. 7. BlACK. 




White 

That is to say : — 

K. at his sq. 
K. B. at his sq. 
Q. B. at his sq.* 
And play as follows : — 

1. K. B. to K. E. s 3rd. 

(This Clieck-mate can only be ef- 
fected by driTing the adverse King 
Into one of the corners of the 
board; you play the Bishops, there- 
fore, in the manner best calculated 
to prevent his getting into the 
centre of the field.) 



BLACK. 

K. at his sq. 



BLACK. 

1. K. to Q.'s sq. 

(For the reasons just mentioned 
Black, of course, avoids the corners 
of the hoard.) 



* This, and a few other positions, are borrowed from " The Chess- 
Player's Handbook,"' published by Mr. H. Bohn, a work to which the 
present brief little treatise may serve as an introduction. 

D 



34 



THE CHKSS-PLAYER's 



WHITE. 

2. Q. B. to K. B. s 4th. 

.3. K. to his 2nd. 

(As the Bishops can now effectually 
prevent the Black King from cross- 
ing to the centre, 3'ou have time to 
play yonr own King forward.) 

4. K. to K. B/s 3rd. 

5. K. B. to K. B.'s 5th. 

6. K. to Kt."s4th.* 



7. K. to his Kt.'s 5th. 

8. K. to his B.'s 6th. 

9. Q. B. to his 7th. 

(Remark how every move now cir- 
ciunscribes the poor King's march.) 

10. K. B. to Q.'s 7th. 



BLACK. 

2. K. to his 2iid. 

3. K. to K. B. s 3rd. 



4. K. to his 2nd. 

5. K. to K. B. s 3rd. 

6. K. to his 2nd. 

(Still prndently evading the corner 
squares.) 

7. K. to Q.'s sq. 

8. K. to his sq. 

9. K. to his B.'s sq. 

10. K. to Kt.'s sq. 



11. K. to his Kt."s 6th. 

12. Q. B. to Q.'s 6th. Ch. 

13. K. B. to Kt.'s 6th. Ch. 



(Xearer and nearer to the fatal 
angle.) 

11. K. to his B.'s sq. 

12. K. to Kt.'s sq. 

13. K. to his B.'s sq. 
14. Q. B. to K.'s 5th. Check-mate. 

This is a Check-mate which rarely, very rarely, occurs ; 
hut it is so instructive a lesson in the play of the Bishop 
that you w^ill do well to study it attentively. 

THE KING AND TWO KNIGHTS. 

You will be surprised to learn that these Pieces cannot 
Checkmate the adverse King, if he make the best defence, 
wdess, indeed, he heippeii to have a Pauni rjr Pairns left, in 
u'hich ceise. ^trdiige to say. it sometimes happens that he is 



ChecJc-mated ir 
example. 



ith 



single Knight, as in the annexed 



* In describing the moves of the King, it is customary to say either 
K. to his Kt.'s 4th, or K. to K. Kt.'s :4th, K. to his B.'s 3rd, or K. to K. B.'s 
3rd, Indiscriminately. So, also, in speaking of the other pieces, It is 
common to say. K. B. to his 6th, as K. B. to K. B.'s 6th, or K. Kt. to his 
oth, as K. Kt. to K. Kt.'s 5th, &c., &c. 



TEXT BOOK. 35 

Place the men as follows : — 



DIAGRAM No. 8. BlACK. 




AYniTE. 

That is to say : — 

"\THITE. BLACK. 



K. at Q. B/s 2nd. K. at Q. R."s 7th. 

Kt. at Q.'s 8th. P. at Q. Kt."s 3rd. 

and Q. E."s 6th. 
In this position Black's Pa^vns are actually assistants 
in his defeat : since, but for them, it would be impossible 
for the single Knight to give Check-mate : as it is. the 
game is very cleverly won. as you will see. in a few moves 
only. ex. gr. : — 

VHITE. BLACK. 

1. Kt. to Q. B.'s 6th. 1. P. to Q. Kt.'s 4th. 

2. Kt. to Q. Kt."s 4th. Ch. 2. Kt. to Q. E."s 8th. 



36 



THE : . chess-player's 



■WHITE. BLACK. 

3. K. to Q. B. s sq. 3. P. to Q. E.'s 7th. 

(As Black cannot evidently move his 
King without going into Check^ 
w^hich the principles of the game 
will not allow\ he is obliged now 
to play the suicidal move of P. to 
Q. R.'s 7th, and leave his King 
witlioiTt a square to escape to 
when the Kt. calls Check next 
move). 

4. Kt. to Q. B.'s 2nd. Check-mate. 

HOW TO CHECK-MATE AYITH THE KING, A BISHOP, 
AND A KNIGHT. 

This is a Check-mate of much greater difficulty than 
that with the two Bishops ; but it is more elegant, and, from 
its admirable exemplification! of the combined powers of 
very dissimilar Pieces, merits the nicest consideration. 



Set up the Pieces as in Diagram ]S'o. 9 : — 

DIAGRAM No. 9. BlACK. 




White. 



TEXT BOOK. 



37 



That is :— 

TTHITE. BLACK. 

K. at his B.'s 6th. K. at his R/s sq. 

B. at K. B. s 5th. 
Kt. at K. Kt."s 5th. 

As in this Check-mate it is necessary, not only to drive 
the Black King into an angle of the board, huf 'rnto one 
icliicli is coiiimanded hy the Bi-^liop ijou mny Jnire (/.e.. if you 
have a Bishop running on a u:Ji^te dUigonciL the King must 
be forced into a corner square of that cdour ; and if your 
Bishop runs on Black squares, yoti must compel the King, 
in the end, to move to a corner sqttare that is Blade'). 
You will observe, on setting up the Pieces, that the Black 
King is most unfavourably i^osted for you. seeing that he 
occtipies a corner square over which your Bishop, being of 
a dilierent colour, has no control. This renders the 
analysis all the more improving. 

AVHITE. BLACK. 

1. Kt. to K. B."s 7th. Ch. 1. K. to his Kt."s sq. 

2. B. to K."s 4th. 2. K. to his B."s sq. 

3. B. to K. B."s 7th. 3. K. to his sq. 

4. Kt. to K."s 5th. 4. K. to his B.'s sq., or 

variation A. 

<Tlie purport of the first three moves (To avoM Cijnfusion you are recom- 

You will easily see thri iugli ; but it meuded to go patiently and cou- 

reciuires a great d^al vi t- xperit-nce siderately through the series of 

to appreciate some of AVhice"s play moves depen<lent on Black's play- 

fromthis point. You must he con- Ing his K. to his B."s so., before you 

tent, therefore, at present to take examine -the variation.; 
for granted that he plays in the 
way best calcttlated to effect 
Check-mate in the fewest possible 
moves.) 

5. Kt. to Q.'s 7th. Ch. 5. K. to his sq. 

6. K. to his 6th. 6. K. to Q."s scp 

7. K. to Q.'s 6th. 7. K. to his sq. 

« (This is Black's 1 1 st play : by moving 

to Q. B.'s s^i. his defeat is onlv 
hastened.) 



38 THE chess-player's 

TTHITE. BLACK. 

8. B. to K. Kt.'s 6th. Ch. K. to Q.'s sq. 

9. Kt. to Q. B. s 5th. [K K. to Q. B.'s sq. 

10. B. to K. B."s 7th. 10. K. to Q.'s sq. 

(Here again Black plays in the best 
way to prolong the game.) 

11. Kt. to Q. Kt.s 7th. Ch. 11. K. to Q. B.'s sq. 

12. K. to Q. B.'s 6th. 12. K. to Q. Kt.'s sq. 

13. K. to Q. Kt.'s 6th. 13. K. to Q. B. s sq. 

14. B. to K."s 6th. Ch. 14. K. to Q. Kt.'s sq. 

15. Kt. to Q. B.'s 5th. 15. K. to Q. R.'s sq. 

16. B. to Q.'s 7th. 16. K. to Q. Kt.'s sq. 

17. Kt. to Q- R.'s 6th. Ch. 17. K. to Q. R.'s sq. 

18. B. to Q. B.'s 6th. Checkmate. 

VARIATION A. 

Place the men again as in the Diag-ram. and play the 
first four moves over as before : but at Black's fourth 
move, instead of K. to his B. sq., move K. to Q.'s sq.. and 
go on thus : — 

WHITE. BLACK. 

4. K. to Q.'s sq. 

5. K. to his 6th, 5. K. to Q. B.'s 2nd. 

6. Kt. to Q. s 7th. 6. K. to Q. B.'s 3rd. 

(His best inove to escape the fatal 
^Vhite corner square. If he plav 
instead K. to Q. Kt.'s 2nd, yonr 
proper move is the B. to Q.'s 3rd ; 
and if, after this, he play K. to 
Q. B.'s 3rd, yoit can more your B^ 
to Q. B.'s 4th, and after his next 
move play B. to Q. Kt.'s 5th, com- 
pelling him immediately to go into 
the angle.) 

7. B. to Q.'s 3rcl. 7. K. to Q. B.'s 2nd. 

(His best move, as a very little con- 
sideration will show yoiT.) 

8. B. to Q. Kt.'s 5th. 8. K. to Q.'s sq. 

9. Kt. to K.'s 5th. 9. K. to Q. B.'s 2nd. 
10. Kt. to Q. B.'s 4th. 10. K. to Q.'s sq. 



TEXT BOOK. 



39 



^THITE. 



BLACK. 



11. K. to Q."s Gth. 

12. Kt. to Q. R. s 5rh. 

13. Kt. to Q. Kt/s 7th. Ch, 



11. K. to Q. B.'s sq. 

12. K. to Q/s sq. 

13. K. to Q. B/s sq, 

14. K. to Kt.'s sq. 

15. K. to R.'s 2nd. 

16. K. to R.'s sq. 

17. K. to E.'s 2ncl. 



U. K. to Q. B.'s 6th. 
15. Kt. to Q.'s 6th. 



16. K. to Q. B. s 7th. 

17. B. to Q. B. s 4th. 



(Greiit care is always demantled when 
your adversary remains with his 
King alone, lest yon suffer him to 
escape by a St ale -mate ; for in- 
stance, if now, instead of moving 
the B., you were to play Kt. to Q. 
B.'s 8th, you leave his King no 
move, and not hei ng i n checTx; he 
is consequently Stale-mated.) 

18. Kt. to Q. B.'s 8th. Ch. 18. K. to R.'s sq. 

19. B. to Q.'s 5th. Checkmate. 

HOW TO WIN WITH A KING AND A PAWN. 

In learning the moves, as previously directed, of some 
player, you will have been apprised of that peculiar 
privilege (see Law 21st. and page 19) which the Pawn has 
of obtaining promotion the moment he has contrived to 
reach the 8th square of the file on which he marches : a 
privilege that sometimes enables one party, by skilful 
manoeuvring, to have two. and even three. Queens on the 
board at once.'* 

With such an advantage in prospect, it. of course, 
becomes a point of the highest possible importance 
throughout the game to know how and when a Pawn can 
be best advanced "to Queen." ATe must confine our 
attention now. however, merely to those cases where one 
side at the end of a game is left with his King and one or 
more Pawns against a King alone. When one Pawn only 

* In "Queening"" a Pawn, such Pawn need not he excliarujed. for a Queen. 
You may claim for it a Eook, or a Bishop, or a Knight, if either of those 
pieces will better suit the circumstances of yom- game. 



40 



THE CKESS-PLAYER's 



remains, the greatest nicety of calculation is often required 
to know whether it can or cannot be queened, and in nine 
cases out of ten this depends upon which King can retain 
what among players is known as the Opposition ; that is, 
in its simplest sense, the power of keeping back his rival 
King, by so playing that at the last, when they face each 
other with one square only intervening, the defending 
King shall be obliged to yield the opposite square, and 
suffer his adversary to get command of that to which the 
Pawn is marching for promotion. 

The following situations will serve to illustrate, in some 
degree, the nature and importance of the " Opposition," 
but nothing short of practical experience can make you 
master of the subject in all its bearings. In the first place, 
suppose your own and the adversary's King to be on their 
respective squares, thus : — 



DIAGRAM No. 10. BlACK. 




White. 



TEXT BOOK. 



41 



Observe, there are six squares — an even number — 
between your King and the opponent's. Xow either 
party having to play can gain the opposition by moving 
so as to have an odd number of squares between the 
Kings. If you are to play, you take the opposition im- 
mediately by moving the K. toi his 2nd. and by this step 
3'ou are enabled to cross over to the other side of the 
board in any part ; while your adversary is compelled, if 
you choose, to remain a comparative prisoner; in his own 
territory. Two or three moves on either side will make 
this plain ; suppose, then, we begin : — 

VrHITE. BLACK. 

1. K. to 2nd. 1. K. to his 2nd. 

(If Black play K. to his B."s 2nd, or 
to Q.'s 2nd, YOU confront liis King 
with yonrs, by playing on the 
next move K. to his B."s 3rd, or K, 
to Q.'s 3rd.) 

2. K. to his 3rd. 2. K. to his 3rd. 

3. K. to his 4th. 

The two Kings are as near to each other as the laws of 
the game permit, and Black, it is obvious, must recede, or 
by moving on one side leave a passage for your King. 
The same thing occurs if the Kings are opposed diagonally, 
as you will find on placing your King at his E,ook"s sq., 
and the adversary's at his Q. E.'s sq.. and then begin by 
moving your King to K. Kt.'s 2nd. his to Q. Kt.'s 2nd, 
on the same diagonal until they face each other with 
one square betwixt them. Xo advantage, of course, could 
accrue to you by gaining the opposit'ioii when the Kings 
only are left, as in these cases, because a King cannot 
Check-mate a King ; but when it is a contest between 
King and Pawns, the fate of the game oftentimes depends 
upon the relative position of the two Kings. 

For example take the following end game (Diagram 
No. 11) :— 



42 

DlAGRiV No. 11, 



THE chess-player's 

Br.ACK. 




^Vhite. 

In this game, it White have to phiy he can win 
Black play he can reduce the game to a drawn 
Firstly, suppose White to begin : — 

1. K. to Q.'s ^nd. 1. K. to his "ind. 

2. K, his 2. K. to his 3rd. 
' In ^iii : > :^ a wiU find, 

as a ^-nri al rule, rhat vonr King 
musr 't'X'J not foJloir, your Pawn. ) 

3. K. to his 4th. 



but if 
battle - 



4. K, TO Q.'s 5rh. 

5. K. to his 5th. 

6. K. to Q.'s 6th. 



3. K. to his B.'s 3rd. 

4. K. to K.'s 2nd. 

5. K. to B.'s 2nd. 

6. K. tohis sq..ortoB.'ssq. 
L; Black plavs K. ro tils B.'s 3rd. 

you advance ihe Pawn to K.'s.lttu 
then to K.'s 5th. and on his after- 
wards moving the K. to his s^^.. 
you regain the opposition by play- 
ing yonr King to his Bth.) 



TEXT BOOK. 



4a 



7. K. to his 6th, and then play forward the Pawn, 
winning easily. 

Now return the Pieces to their position on the Diagram, 
and suppose Black has the move. 

WHITE. BLACK. 



1. K. to his 2nd. 

2. K. to his 3rd. 

3. K. to his 4th. 

4. K. to Q."s 4th. 

5. K. to K.'s 4th. 



2. K. to Q.'s 2nd. 

3. K. to his 3rd. 

4. K. to Q."s 3rd. 

5. P. to K.'s 3rd, or to 

K.'s 4th. Ch. 

And, play as you may, you can only draw the game, since 
Black will always retain the opposition. 

Here is another position of the same kind : — 

DIAGRAM No. 12. BlACK. 




White. 



44 



THE chess-player's 



In this, having the move, you win readily by playing 
3^our King to his 6th, as in the previous example ; but if 
Black have the move, he can draw the game, ex. gr. : — 

WHITE. BLACK. 

1. K. to his 2nd. 

2. K. to K. B.'s 5th. 2. K. to B.'s 2nd. 

3. P. to K.'s 5th. 3. K. to K.'s 2nd. 

4. P. to K.'s 6th. 4. K. to K.'s sq. 

(If instead of moving tlie King thus 
he phiy to Q."s or to K. B.'s sq., 
yon win. See variation B. ; 

5. K. to B.'s 6th. 5. K. to B.'s sq. 

6. P. to K.'s 6th. Ch. 6. K. to his sq. 

And you must either abandon the Pawn, or, by playing 
your King to his 6th, give Black Stale-mate. 

VARIATION B. 

Place the Pieces again as m the diagram, and make 
■ the same moves until Black's 4th move, when proceed 
thus : — 

WHITE. BLACK. 

4. K. to Q."s sq. 

(If to K. B.'s sq., White etinally wins 
; by first moving K. to B.'s 6tli, then 

P. to K.'s 7th, and finally K. to 
B.'s 7th, Queening the Pawn next 
move.) 

5. K. to his B.'s 6th. 5. K. to his sq. 

6. P. to K.'s 7th. 6. K. to Q."s 2nd. 

7. K. to K. B.'s 7th. 7. Anywhere. 

8. P. to K.'s 8th becomes a Queen, and, of course, wins. 

In the next situation (Diagram Xo. 13), although you 
have the opposition, you will find it cannot be retained, 
owing to the ]30sition. your Pawn* occupies. 



TEXT BOOK. 



45 



DIAGRAM No. 13. 



Black. 




White. 

Here Black may draw whether he may have the move 
or not. 



1. K 



WHITE. 

to his 4th. 



2. K. to K."s 5th. 

3. P. to K. B.^s 6th. 

4. K. to his B."s 5th. 



5. K. to to his 6th. 



Ch. 



BLACK. 

1. K. to B."s 2nd. 

(In like manner, if he moves first, 
lie would play K. to B.'s 2ncL and 
then, on whichever side yon played 
your King, whether to Kt.'s 4th or 
K.'s 4th, he would face him in the 
way before shown.) 

2. K. to K."s 2nd. 

(Gaining the opposition ). 

3. K. to B."s 2nd. 

4. K. to his B.'s sq. 

(If he play to K."s sq., or K. Kt.'s sq., 

he loses the game, as a very little 
consideration will show 3'ou. ) 

5. K. to K."s sq. 

(Always retaining the opposition). 



46 



THE CHESS-PLAYER'fe' 



7. K. to his B/s sq. 

8. K. to his Kt/s sq. 

9. K. to B."s sq. 



WHITE. BLACK. 

6. K. to his B.'s 5th. 6. K. to his B/s 2nd. 

(If you advance the Pawn, cliecking,' 
3'ou must abandon its next move, 
or give Stale-mate. ) 

7. K. to Kt."s 6th. 

8. K. to Kt.'s 5th. 

9. P. to K. B.'s 7th. Ch. 

(And you are obliged either to resign 
the Pawn, or phiy your King to his 
B.'s 6th, and give Stale-mate.) 

Study the foregoing positions attentively, and remember 
that the observations are equally applicable to a King and 
Pawn against a King alone, on ever}' other file except the 
K. MooJy.s -file and Q. Book's file, on either of which the 
King c(i)i (dieci.ys drair the game, provided he gets before 
the Pawn on the same file, no matter how distant he may 
be from it. 

The reason of these exceptions will soon be apparent if 
you examine Diagram No. 14. 

DIAGRAM No. 14. BlACK. 




AVhite. 



TEXT BOOK. 



47 



Here the Black King is already in possession of the 
square towards which the adverse Pawn is marching ; and, 
as he will persist in playing only to the Kt.'s sq., and then 
back again to the E.'s sq., you will find it impossible to 
dislodge him. Nay, it often happens that when the player 
with the Pawn has even got possession of the E,ook's sq. 
with his own King, he must rest content with the drawn 
battle. For example, look at Diagram No. 15. 

In this situation the game must be drawn, whichever 
moves first ; because if White attempts to- make room for 
his Pawn to pass to the Q. E.'s 8th. the Black King will 
gain possession of the square himself ; and if the White 
persevere in retaining the corner he must be Stale-mated. 
For instance : — 



1. P. to Q. E."s 4th. 

2. P. to Q. E.'s 5th. 

DIAGRAM No. 15. 



Black. 



1. K. to Q. B."s 2nd. 

2. K. to Q. B. s sq. 




White. 



48 



THE chess-player's 



3. K. to Q. E.'s 7th. 

4. P. to Q. E/s 6th. 

5. K. to Q. E.'s 8th. 

(If the White Kmg now goes to 
Kt.'s 6th, in the hope of advancing 
his Pawn, Black will gain com- 
mand of the corner sq., hy moving 
first to Kt.'s sq., and then to Pv.'s sq. 

6. K. to Q. E.'s 7th. 

7. K. to Q. E.'s 8th. 

8. P. to Q. E.'s 7th. 



3. K. to Q. B.'s 2nd. 

4. K. to Q. B. s sq. 



5. K. to Q. B.'s 2nd. 

6. K. to Q. B.'s sq. 

7. K. to Q. B.'s 2nd. 

8. K. to Q. B.'s sq. 



And White is Stale-mated. 
As this is an instructive peculiarity in the play of a 
King and Pawn against a King, you should examine the 
moves again and again, varying the position of the men 
occasionally, until you thoroughly comprehend the 

DIAGRAM No. 1G. BlACK. 




White. 



TEXT BOOK. 



49 



principle, both in theory and practice. In a short time 
you will discover that the result is the same whether the 
Kings are near or distant from the Pawn, and that Black 
€an equally draw the game in this position (see Diagram 
Xo. IG) as in that previously given. 

HOW TO WIN WITH THE KING AND TWO PAWNS AGAINST 
THE KING. 

Two Pawns united can ahcays win against the King 
alone : and in most cases two isolated Pawns win also. 
It frequently happens, however, that an inexperienced 
player when remaining at last with two united Pawns, is 
unable to Queen either, or suffers his adversary to get into 
Stale-mate. Take the following position :— 



DIAGRAM No. 17. BlACK. 




AVhite. 

Here the Pawns protect each other; for if Black were to 
■capture the hind one. the other goes to Queen, and the 

E 



50 



THE chess-player's 



same thing holds good in whatever part of the board they 
may be. On this account you have ample leisure to bring 
up your King to their support ; but although the game is 
then won to a certainty by correct play, great care you 
will find is required to prevent its slipping through your 
fingers. Suppose you begin : — 



1. 



lA'HITE. 

K. to his R.'s 2nd. 



BLACK. 

1. K. to his E,.'s sq. 

(If lie move elsewhere, you may 
obvioiisly Queen the Rook's Pawn 
at once.) 



K. to his Kt.'s 2nd. 
K. to his !R.*s sq. 
K. to his Kt.'s 2nd. 

K. takes Q. 



6. K. to his Kt.'s sq. 

7. K. to his B."s 2nd. 



2. K. to his E.'s 3rd. 2. 

3. K. to his E.'s 4th. 3. 

4. K. to Kt.'s 5th. 4. 

5. P. to K. E.'s Sth. 
Becoming a Queen. Ch. 

(Tliis is tlie only way to win : by any 
other play yuu will be liable to 
give Black Stale-mate.) 

6. K. to E.'s 6th. 

7. P. to K. Kt.'s 7th. 

8. K. to his E.'s 7th. 

("Queening" the Pawn next move, 
and then winning with ease. ) 

When the two Pawns are widely apart the instances 
are very rare in which the single King can prevent one or 
other going to Queen : and even when the two appear 
within his reach, as in the following situation (see Diagram 
No. 18). by good play the Pawn can be made to win. 

At first view you would think it impossible, with the 
White King so distant, to save the Pawns : but a little 
examination will show you that in realit}^ these two 
Pawns, though separated, as effectually protect each 
other as the united ones in the preceding Diagram. A 
few moves will place this beyond doubt : — 

WHITE. BLACK. 

1. K. to Q. Kt.'s 3rd. 1. K. to his B.'s 4th. 

(It is quite indifferent which party (If he move to attack either of the 



moves first.) 



Pawns, the other can march on 
safely ; the move given is, there- 
fore, as good as an}' other.) 



TEXT BOOK. 



51 



^HITE. 

2. P. to K. E;s4Th. 

3. P. to K. B/s 4Th. 



4. P. to K. E/s 5tli. 

5. P. to K. E. s 5th. 

6. P. to K. E."s Gth. 

7. P. to K. B.'s Gth. 

8. P. to K. B.'s 7th. 

(Queening a Pawn next move. ) 



2. K. to his Kt.'s 3rd. 

3. K. to his E.-s 3rd. 

CAs before remarke.l. aitacking- 
either of the Pawns would be 
useless. ) 

4. K. to his Kt.'s '2nd. 

5. K. to his B."s 2nd. 

ill to R."s 2n':l. Willie of course 
advances the other Pawn. ) 

6. K. to his Kt.'s sq. 

7. K. to E.'s 2nd. 



DIAGRAM No. 



Black. 




White. 

From these examples of Pawn play, which you ought 
to go over repeatedly before proceeding further, you will 
have learnt that a King and one Pawn will g-nrraUn win 
against the solitary King : and that a King and two Pawns 
will almost alicai/s do so. You will take it for granted, there- 



52 



THE CKESS-PLAYEK S 



fore, that a Pawn supported by a minor Piece, as well as 
the King, must win with ease. In ninety-nine cases out 
of a hundred, it is true, he must : but there are two or 
three important exceptions to the rule, and with these we 
shall conclude the chapter. 

The first has reference to a Pawn on a Rook's file ; we 
have just before seen the difficulty of winning with a 
Book's Pawn at the end : but you will hardly be prepared, 
from the examples given, to believe that, if you were left 
at the end of a game with a Rook's Pawn, and a Bishop 
to support U. you would be unable to win the game. Yet 
such will be occasionally the case, a-hen your Bishop does 
not command the corner sriuare to vduch the Paurn is rnarch- 
ing. and the adverse King can get before your Pawn upon 
the Rook's file. Take, for instance, the subjoined position: 



DIAGRAM No. 19. BlACK. 




White. 



TEXT BOOK. 



53 



In this example, if Black has to move, you will find it 
impossible to do more than draw the game, since he is 
suflS.ciently near to get possession of his R.'s sq., from 
whence your Bishop, heing on a different coloured diagonal^ 
can never dislodge him. 

A very few moves on each side will render this 
apparent. 

WHITE. BLACK. 

1. K. to his 2nd. 

(As a proof of the extreme nicety of 
calculation demanded in such cases, 
it may be mentioned that if he 
play the King to his sq., instead of 
to his 2nd, you can win the game.) 

2. B. to Q. B.'s 4th, or 2. K. to B.'s 3rd. 

Variation A. (And jou can neither prevent his 

reaching the R.'s sq., nor dispossess 
him of it, without sacrificing your 
Pawn, after which, of course, as a 
Bishop and King alone can never 
give Check-mate, the game must 
be drawn.) 

VARIATION A. 
WHITE. BLACK. 

1. K. to his 2nd. 

2. P. to K. R.'s 6th. 2. K. to his B.'s 2nd. 

3. K. to his Kt.'s 5th. 3. K. to his Kt.'s sq. 

4. K. to his Kt.'s 6th. 4. K. to R.'s sq. 

And again, play as jom will, the game must be drawn, 
either by your giving Stale-mate, or sacrificing the Pawn, 
or by permitting Black to move interminably from the 
R.'s sq. to an adjoining sq., and back again. 

Diagram No. 20 is another proof that a single King 
may sometimes draw the game against the rival monarch 
with a Piece and Pawn. 

In this situation White wins if Black has to move. 
but, having himself to play, can only draw the game, 
ex, gr. : — 



54 



THE chess-player's 



^'HITE. BLACK. 

1. Kt. to K.'s 3rd. 1. K. to Q. B.'s 2nd. 

2. Kt. to Q.'s 5th. Ch. 2. K. to Q. B.'s sq. 

3. Kt. to K.'s 7th. Ch. 3. K. to Q. B."s 2nd. 

And the Black King can always retain command of the 
same two squares, on whichever side he may he checked. 



DIAGRAM No. 20. BlACK. 




AYhite. 



TEXT BOOK. 



55 



w 



CHAPTER YIII. 

E have now to direct our attention to those termina- 
tions in which both parties are left with Pieces or 
Pawns towards the end ;of a game. In snch cases the 
variations are. of course, more numerous and complicated 
than in the examples hitherto examined. 

HO^vY TO ">VIN "TITH THE KING- AND QUEEN AGAINST THE 
IIIXG AND A ROOK. 

In this end game the superior force wins in all general 
positions, the only exceptions being those cases in which 
the other party escapes defeat by a Stale-mate, one of 
which is as follows : — 

DIAGRAM No. 21. BlACK. 




White. 



56 



THE chess-player's 



Here Black, having the move, can draw the game by the 
following ingenious mode of play : — 

WHITE. BLACK. 

1. E. TO K. E."s •2nd. Ch. 

2. K. to his Kt.'s 2nd. 2. E. to K. Kt."s 2nd. Ch. 

3. K. to his B. s 3rd. 3. E. to K. B. s 2nd. Ch. 

4. K. to his Kt. s 4th. 4. E. to K. Kt.'s 2nd. Ch. 

(It i> eTideiu rhar if you play behind 
your Q. he wins her by placing 
the R. at K."s 2nd.) 

5. K. to his B.'s 5th. 5. E. to K. B.*s 2nd. Ch. 

6. K. to his Kt.'s Gth (I E. to K. Kt.'s 2nd. Ch. 

7. K. to E.'s i3th. 7. E. to K. E.'s 2nd. Ch. 

(And as you must Stale-mate his 
Kin? if vou take tlie Rook, he 
' t' in repeating th^ same 

1 tlui- .Iraw the game. 
I:. ii;-:-a ! 'A I'laying your K. to 
R.'s 6tli. you move to B.'s 6th. 
Black will play tlie R. to K. Kt.'s 
3rd. Ch.. Arc. 

With a few exceptional instances of this nattire. yon 
can always wni with the Qtteen against the Eook. Your 
endeavour mu>t be to separate the King and the Eook. 
by Chec-king the former, and driving him to one side of 
the board : and then, by Checking both King and Eook. 
yoti may often wni the latter. Take the following instance 
(see Diagram Xo. 22 ). 

In this position, which is given by the celebrated LoUi. 
were it your move, yon would win at once by taking the 
Eook. Ch.. Cvc. : bnt Black has to pla}'. and of the great 
A-ariety of moves at his command, the best has been 
found to be E. to K. B.'s 7th. Ch.. after which yon can 
win his Eook. or sive him Check-mate in a few moves. 



DIAGRAM No. 22. 



text book. 
Black. 



57 




White. 



BLACK. 



2. K. to his 3rd. Dis. Ch. 

3. Q. to K. Kt.'s3rd. Ch. 



4. Q. toK. E."s4th. Ch. 
0. Q. to K.'s sq. Ch. 

6. Q. to K. B.'s 2nd. Ch 

7. Q. to K. B.'s 3rd. Ch. 

8. K. to his B."s 4th. 



1. E. to K. B.'s 7th. Ch. 

2. K. to his Kt."s 8th (best). 

3. K. to his E."s 8th. 

(He retires his King, seeing that if 
Tou take the Eook he is Stale- 
mated.) 

4. E. to K. E.'s 7th. 

5. K. to his Kt.'s 7th. 

G. K. to his E."s 6th. 

(If he play the King to R."s Sth 
yon Check-mate him next move.) 

7. K. to his E.'s 5th. 

8. E. to K. B.'s 7th. 

(His best way to delay the Check- 
mate.) 



9. Q. takes E. Ch. 

10. Q. to her Kt.'s Gth. 

11. Q. to K. E.'s 6th. Check-mate 



9. K. to his E.'s 4th. 
10. K. to his E.'s 5th. 



58 



THE CHESS PLAYEFv'S 



HO^.V TO TTIX ^.VITH THE KING AND QUEEN AGAINST THE 
KING. ROOK. AND PAAVN. 

With some few exceptions, the Queen wins also, though 
not so easily, against a Eook and Pawn. The two follow- 
ing diagrams exhibit both a won and a drawn game : — 

DIAGRAM No. 23. BlACK. 




AVhite. 

AVith the move. White in this i:)osition wins : 



1. Q. to K/s 8th. Ch. 

2. Q. to K."s 7th. Ch. 

3. Q. to her 7th. 

4. Q. to K. B."s 7th. 

5. Q. to K. B.'s 8th. Ch. 

6. Q. to K. B."s 6th. Ch. 

7. K. to his E. 6th. 



ELACK. 

1. K. to his Kt."s 2nd. 

2. K. to Kt.'s sq. 

3. K. to his E."s sq. 

4. E. to K. Kt."s 2nd. 

(If lie play R. to K. Kt.'s 8th. vou 

mar -win it in two moves. ) 

5. E. to K. Kt."s sq. 

6. E. to K. Kt."s 2nd. 

7. K. to his K. Kt.'s sq. 



8. Q. takes E. Check-mate. 



TEXT BOOK. 59 

In the next situation, which, like the former, is from 
Cozio"s rare treatise. Bhick. phtying first, can draw the 
game : — 



DIAGRAM No. 24. BlACK. 






White. 




WHITE. 


BLACX. 






1. R. to K. B.'s 3rd. 




Q. to K."s 8th. Ch. 


2. K. to his R."s 2nd. 


3. 


Q. to K. E."s .jrh. Ch. 


3. K. to his Kt."s sq. 


4. 


Q. to K.'s 8th. Ch. 


4. K. to his E."s 2nd. 


5. 


Q. to K.'s 7th. 


5. R. to Kt."s 3rd. Ch. 


6. 


K. to his B."s 5th. 


G. R. to B.'s 3rd. Ch. 






(And will always draw the game, 






either by perpetual Checij, or by 






keeping the ailrerse King at a dis- 






tance, so that he cannot co-operate 



with his Queen. ) 

THE KING AXD QUEEN AGAINST THE KING AND TWO 
^LIXOR PIECES. 

The Queen usually proves the concjueror against two 



60 



THE chess-player's 



Bishops, or two Knights, or a Knight and Bishop ; but 
there are many instances in which the weaker force may 
draw the game. For these we must be content to refer 
the student to the ''Chess-Players Handbook," pages 
420 — 428, where he will find these end-games copiously 
examined. 

HOW TO WIN WITH THE KING AND QUEEN AND A PAWN 
AGAINST THE KING AND QUEEN. 

As a general rule, when one side is left with a Queen 
and Pawn against a Queen, the game ends in a drawn 
battle by means of perpetual Check : but when the Pawn 
has reached the 7th sq.. and is besides supported by his 
King, situations of great interest occur, where the Pawn 
can be Queened, and the game won. 

The following is one of this description : — 



DIAGRAM No. 25. BlACK. 




White. 



TEXT BOOK. 



61 



T\'HITE. BLACK. 

1. Q. to K. Kt.'s 4th. 1. K. moves. 

(If the Q. stirs, it is evident tlie Pawn 
could go to Queen.) 

2. K. to K.'s 8th. 2. Q. to K. E.'s sq. Ch. 

3. P. Queens, and wins. 

HOW TO WIN WITH THE KING AND QUEEN AGAINST THE 
KING AND ONE OE MOKE PAWNS. 

Knowing the amazing power of a Queen, you will readily 
surmise that m most cases she can stop and win the 
adverse Pawns in detail, but there are ilistances where even 
a single Pawn well advanced and sustained by its King, 
will draw the game. The first examples show the method 
of winning against a single Pawn, and also against two 
united Pawns. 



DIAGRAM No. 26. BlACK. 




White. 



62 



THE chess-player's 



AVHITE. 

1. Q. to K. B.'s 2nd. 

(Preventing his-moving the Pawiij 

2. Q. to her 4th. Ch. 

3. Q. to K/s 3rd. 

4. Q. to her 3rd. Ch. 

(This, YOU will observe, compels 
Black, either to abandon his Pawn, 

or, hil iildil'unj fin KiiKi (11 fi-i)iit of 
if, !/ir(s iiDU fine to hriinj Up i/uur 



Kin<j one step.) 

5. K. to B." 



6th. 



BLACK. 

1. K. to Q.'s 8th. 

2. K. to Q. B.'s 2nd. 

3. K. to Q.'s 8th. 

4. K. to his 8th. 



5. K. to his B.'s 7th. 

(If he went to B.'s 8th, he would 
give 5'ou time to play your King 
again, since he could not advance 
his Pawn next move.) 

6. K. to his B."s 8th. 

7. K. to his Kt.'s 8th. 

8. K. to his B.'s 8th. 

9. K. to his 8th. 



6. Q. to her 2nd. 

7. Q. to K. B.'s 4th. Ch. 

8. Q. to K."s 3rd. Ch. 

9. Q. to K. B.'s 3rd. Ch. 

(Again compelling Black to obstruct 
his own Pawn, and thus give your 
King another move.; 

10. K. to his 5th. 

11. Q. to K. B.'s 2nd. 

12. Q. to her 4th. Ch. 

13. Q. to K.'s 3rd. 

14. Q. to her 3rd. Ch. 
(Winning another step for the King.) 

15. K. to his 4th. 

16. Q. to K. B.'s 3rd. Ch. 

17. K. to Q.'s 3rd. 

18. Q. takes P. Check-mate. 

This analysis runs to some length, but you must not be 
deterred on that account from going through it until you 
understand the principle. 

In this situation, which is taken from Cozio. the Queen 
wins against two advanced Pawns, as follows : — 



10. K. to Q.'s 7th. 

11. K. to Q.'s 8th. 

12. K. to Q. B.'s 7th. 

13. K. to Q. s 8th. 

14. K. to his 8th. 

15. K. to his B.'s 7th 

16. K. to his 8th. 

17. K. to Q.'s 8th. 



TEXT BOOK. 6B 



DIAGRAM No. 27. BlACK. 




Whitk 





TTHITE. 




SLACK. 


1. 


Q. to K. Kt.'s 2iid. Cb. 


1. 


K. to Q. B.'s >^th. 


9. 


Q. toK.'ssci. Ch. 


2. 


K. to Q. B. s 7th. 


3. 


Q. toK.s2iid. Ch. 


3. 


K. to Q. B.'s 8th. 

( His besc move. ) 


4. 


Q. to K."s sq. Ch. 


4. 


K. to Q. B."s 7th. 


5. 


K. to Q. Kt.'s 4th. 


5. 


P. to Q. Kt.'s 7th. or 






Variation A. 


6. 


Q. to K."s 2nd. Ch. 


6. 


K. to Q. B.'s sq. 


7. 


K. to Q. B."s 3rd. 




P. to Q. Kt.'s. sch. 



BecomiDg a Kt. Ch. 

(This is the only play to prevenr 
Check-mate next move.) 



8. K. to Q/s 3rd. 8. P. to Q. E."s 8th. 

Becoming another Kt. 
( This also was indispensable.; 

9. Q. to herE.'s2nd. 

OVinning one of the Kt.'s next move, 
and then of course the game.) 



64 



THE chess-player's 



VARIATION A. 
WHITE. BLACK. 

5. P. to Q. K. s 8th. 
Becoming a Q. 

6. Q. takes Q. ' 6. P. to Q. Kt.'s 7th. 

7. Q. to her E.'s 2ncl. 7. K. to Q. B. 8th. 

8. K. to Q. B.'s 3rd. 8. K. to Kt."s 8th. 

9. K. to Q.'s third, winning 

easih\ Becoming a Kt. Ch. (best.) 

The exceptions to the general rule of the Queen winning 
against an advanced Pawn are those cases o'here the Pauni 
is on a B/sTiop's or a Bool/ s n'lc when, owing to the chance 
he has of getting Stale-mate. Black often draws the 
game. 

The following Diagram is an example : 

DIAGRAM No. 28. BlACK. 




White. 



TEXT BOOK. 



65 



^HITE. BLACK. 

1. Q. at K. Kt/s 4th. Ch. 1. K. to his U's 8th. 

2. K. to K. B.-s 3rd. Ch. 2. K. to his Kt.'s 8th. 

3. Q. to K. Kt."s 3rd. Ch. 3. K. to his E."s 8th. 

(And Yon perceive that if the Pawn 
is taken the Black K. is Stale- 
mated.) 

The result is the same frequently when the Pawn is on 
a Hook's file, ex. gr. : — 

DIAGRAM No. 29. BlACK. 




White. 

T^'HITE. BLACK. 

1, Q. to K. Kt.'s 3rd. Ch. 1. K. to K. E.'s 8th. 



The game is obviously drawn, for if you keep the Queen 
on the K. Kt.'s file, Black is Stale-mated, and if you move 
her away he can always bring out his King, and threaten 
next time to make a Queen. 

Even, however, when the Pawn is on a Bishop's or a 
Eook's file, you may mostly win with the Queen, iwockled 
your King is near the Panrn. ex. gr. : — 

F 



66 



THE CHLSS-PLAYEK\s 



DIAGRAM No. 30. BlACK. 




White. 



WHITE. BLACK. 

1. K. to his Kt.'s 4th. 1. K. to his R/s 8th. 

(If he play to the B.'s 8th, you 
evidently win by K. to B.'s 3rd, 
and if he move to Kt.'s 8th, 3'ou 
play as in Variation A.) 

2. Q. to K. R.'s 6th. Ch. 2. K. to Kt.'s 7th. (best) 

3. Q. to K. E.'s 3rd. Ch. 3. K. to Kt.'s 8th. 

4. K. to Kt.'s 3rd. 

(And if he make a Qneen yon Check- 
mate at K. E.'s 2nd, and if a Kt. 
you win easilj^ in two or tliree 
moves.) 

VARIATION A. 
WHITE. BLACK. 

1. K, to his Kt.'s 4th. 1. K. to Kt.'s 8th. 

2. K. to B.'s 3rd. 2. P. becomes a Q. Ch. 
(This is the right move ; if yon play 

the K. to Kt.'s 3rd, he claims a Kt. , 
and checks both K. and Q.) 



TEXT BOOK. 



67 



TTHITE. BLACK. 

3. K. to Kt.'s 3rd. 

<And let Black play as be may. lie 
must be Clieck-mated directly.; 

THE KING AND A ROOK AGAINST THE KING AND A BISHOP. 

In this case the game usually ends as a remise. The 
most secure position for the weaker force is to get his 
King to a corner square of a different colour to the 
diagonal on which his Bishop plays, and then he cannot 
be driven from the angle. He should also endeavour so 
to play his Bishop that your King cannot face his. with 
one square between, and should likewise keep his Bishop 
generally at a distance from your King. If he neglects 
these precautions the Eook will often win. The follow- 
ing shows the proper method to move the Bishop in 
ordinary cases : — 



DIAGRAM No. 31. BlACK. 




White. 



68 



THE CHE^PULYER's 



1. B. to Q. Kt. s 2nd. 

2. K to Q. Ktw's 5th. 2. B. to Q. s Wl 

3. R. to Q. KjL\. 2Dd. a B. to Q. B. s 3rd. 

tAs Ikaig as he caai jverent joar 
Km^ emSronSiMtg la& jaa can 
never ■wrftn.> 

4. B. to K. B.'s 2iid. CIl 4. K. to Kt/s ^th. 

5. K. to his 2nd- 5u B. to Q.'s 4th. 

6. K. to his sq. 6u B. to Q. B. s 3nL 

7. B. to K. B. s 6th. 7. B. to Q. Kt. s ind. 
> E T K Kt, s 6th. Ch. 8. EL to his B,"s 7th. 

CK to E-'s *ih siq^ jam would win hy 
nBOTin^ voaur Kin^ to BL s 2iid.| 

a K T B s 2nd- 9. ELtoB-s^ 

(The- ^tiaatiQn odf his Bi^np pr^ 
etudes TKm from faang Mm, hj 
King to Srd, so tbe game i& 
diawn.) 



TEXT BOOK, 



69 



THE KING AND A ROOK AOAINST A KIXO AND A KNIOHT. 

The Eook win? in more positions against a Kt. than 
agamst a Bishop : vet here. too. in ordinary instances, the 
game is mostly drawn. The phiyer whh the Kt. should 
try to keep his Kt. as close as possible to his King, and 
avoid playing either to th^: corner square^ "f fhr hoard. The 
following positions will assist yon greatly ni understand- 
ing the best mode of play for both parties > see Diagram 
Xo. B2). 

In this case, owing to his King being posted in the 
corner, you can whi withotit much trouble, whether you 
have play first or not. ex. gr. : — 

T^-HITE. BLACK. 

1. Kt. to K. E."s 2nd. Ch. 



2. K. to B."s 7th. 2. Kt. to Kt."s 4th. Ch. 

3. K. to Kt."s Gth. And wins. 

DIAGRAM No. 33. BlACK. 




^Vhite. 



70 



THE ClI ESS-PL A YI:r'S 



In the next situation (Diagram No. 33) you win also in 
consequence of the K. and Kt. being too far apart : — 

^VHITE. BLACK. 

1. K. to his sq. 

(If he play tlie Kt. to K. B.'s 3rd, 
you move 11. to R.'s 8th, Ch., and 
then play K. to his 6th. In like 
manner, it he move his K. to Q. 
B."s s(]., trying to escape on the 
Q.'sside, you play R. to K. R.'s 
4th and in a few moves win the 
Kt. by force.) 

2. K. to B.'s sq. 

3. Kt. to K.'s 6th. 

( The only move to save the Kt.) 

4. Kt. to Q. B.'s 7th. 

(If to K. Kt.s 7th, you play K. to 
B.'s Gth. &c.) 



2. K. to his Gth. 

3. E. to K. E.'s 4th. 

4. E. to K.'s 4th. 



DIAGRAM No. 34. 



Black. 




AVhite. 



TEXT BOOK. 



71 



ATHITE. BLACK. 

5. K. to Q.'s 5th. 5. K. moves. 

6. K. to Q. B.'s 4th. 6. K. moves. 

7. E. to K.'s 2nd. 7. Kt. to Q. E."s "Gth. Ch. 

8. K. to Q. Kt.'s 4th. 8. Kt. to Q. Kt.'s 8th. 

9. E. to Q. Kt.'s 2nd. And wins the Knight.* 

The following (see Diagram 34-) is an example of a 
drawn game with these forces : — 

^^HITE. BLACK. 

1. Kt. to K. B"s. 2nd. Ch. 

2. K. to his Kt.'s 6th. 2. Kt.' to Q.'s sq. 

( And the game must be drawn.) 

He may also, as Lolli remarks, play the Kt. to Q.'s 3rd, 
and prevent your Check-mating him. or gaining the Kt. : but 
if he venture in this situation to move him to the corner 
sq.. giving Ch.. you inevitably win the game. 

For suppose : — 

WHITE. BLACK. 

2. Kt. to K. E.'s sq. Ch. 

3. K. to his B.'s 6th. 3. K. to his Kt.'s sq. 

(Observe now that the Kt. is com- 
pletely Imprisoned. )t 

4. E. to Q.'s 7th. 

(Evidently either winning the Kt. 
or, if the King is moved, Check- 
mating next move. ) 

TPIE KING ^ITH A ROOK AND PAWN AGAINST THE KING 
AND A BISHOP. 

Since the Eook. as you have seen, can occasionally win 
against the Bishop, it is reasonable to suppose that, with 

* The merit of showing the way to win in tliis and several other 
positions of the same description, is due to the late Mr. C. Forth, of 
Carlow. 

fWlien harassed by the checks of an adverse Kt. towards the end of a 
game, young players should remember that, by placing their King as 
above on the fhArd ^iiaiionrC s luare from icJiere the Kt. staw.ls, it takes the 
latter tJrree rnorps to get into a position to check again. 



72 



THE chess-player's 



the aid of a Pawn, he can invariably do so. But such is 
not the case, for there are many positions in which the 
weaker force can draw the game. The following are two 
of these, and they will repay your study : — 



DIAGRAM No. 35. 



BLArK. 





. ! 


^^^^^ 




a ■ 


^^^^^^^^^^^^^^^^^^^^ 

<»^^ 







"VTHITE. 

1. E. to K. Ki."s 6th. 

2. K. to Q.'s 3rd. 

( If. instead of This mrire. yon play P. 
on TO Q."s 6t1i. Black will move his 
K. TO Q. B."s 3rd. and presenTly win 
The Pawn. despiTe all yon can do. i 

3. K. to Q/s 4th. 

4. K. to his 5th. 

5. K. to his B.'s 5th. 5 
And the game must be drawn. 



White. 

LLaCK. 

1. B. to K. B.'s 7th. 

2. B. to K. s >th. 



3. B. to Q.'s 7th. 

4. B. to Q. B. s 6th. 

5. B. to Q. Kt."s 5:h 



TEXT BOOK. 



73 



DIAGRAM No. 36. BlACK. 




White. 

In this situation (Diagram 2no. 36) Black draws the game, 
whether he has or has not to play. In the first place, 
suppose you begin : — 

TTHITE. BLACK. 



1. E. to Q. Kt. s 7th. 1. B. to Q. B."s 5th. 

2. E. to Q. B."s 7th. 2. B. to Q. E."s 7th. 

And the game can only be drawn. (For other variations 
see page 437 of the " Chess-Player"s Handbook."') 

THE KING AXD A ROOK AND PAWN AGAINST THE KING 
AND A EOOK. 

This is an end-game of very frequent occurrence, and 
generally results in a drawn battle ; but there are very 
many instances in which, by placing the Eook in a position 
to cut off the adverse King from the file on which the 
Pawn marches, the latter may be got up to Queen. 



74 



THE CHESS-PLAYER"s 



DIAGRAM No. 37. 



Black. 




m 




^^^^^ W<y>:^VA- 



mm,. 



m mm, mm. 






mm. mm. i 

^ ^^^^ 

'm, mm 
wm/. wmm. wmyy. 



mm mm^. 



s ^ mmm, 'mm. » 

fffi ^ 
lil " « ^ 



AVhite. 

For example, in the above situation (Diagram No. 37). 
White havino- the move, wins thus : — 



AVHITi:. 

1. K. to Q. B.'s 5th. 



2. E. to Q."s 5th. Ch. 

3. K. to Q. B.'s 7th. 

4. K. to Q. Kt."s 6th. 

5. E. to Q. Kt.'s 5th. 



BLACK. 

1. E. to Q. E."s 7th. 

( He keeps possession of the Rook's 
file to prevent the adverse King's 
escape.) 

2. K. to his 2nd. 

3. E. to Q. B."s 7th. Ch. 

4. E. to Q. Kt."s 7th. Ch. 

5. E. takes E. Ch. 



6. K. takes E.. and of course wins. 

Here also (Diagram Xo. 38i. with the move. White can 
win. ex. gr. : — 



TEXT BOOK. 



75 



DIAGRAM No. 38. 



Black. 




White. 



WHITE. 

1. E. to Q.*s 6th. 

(By advancing the Pawn yoii would 
ultimately lose it.) 

2. E. to Q.'s •2ncl. 



3. E. to Q. Kt.'s 2nd. Ch. 

4. P. to Q. E."s Tth. 

5. K. to Q. B.'s sq. 



BLXCK. 

1. E. to Q. B.'s 8th. 



2. E. to Q. B.'s 6th. 

( Tf lie takes the P. yon gain his R. by 
first giving Ch. at Q. Kt.s 2nd, 
and then at Q. B."s 2nd, &c. ) 

3. K. to E.'s 2nd. 

4. E. toQ."s6th. Ch. 

5. E. to Q."s 5th. 

(If he play the R. to Q. R.'s 6th, you 
reply with R. to Q."s 2nd, and are 
thus enabled to move your King to 
Q."s Tth or 8th, and push on the 
P. immediatelv.) 



6. E. to Q. E.'s 2nd. Ch. 6. K. to Q. Kt.'s 3rd. 

7. K. to Q. Kt.'s 8:h. and wms. 



76 



THE CHESS-PLAYER 



Our next Diagram (Xo. 39) represents an eminently 
instructive situation of this kind, which Cozio gives : — 



DIAGRAM No. 39. BlACK. 




White. 

At this juncture, according to Cozio. if Black plaj' first, 
he can win the game as follows : — 

WHITE. BLACK. 



1. E. to K. Kt.'s sq. 

2. E. takes E.or Variation A. 2. P. to K. Kt."s 7th. 

3. K. to K. E.'s 8th. 3. P. to K. Kt."s 8th. 

(Becomes a Queen, and Checks, and 
wins.) 

VARIATION A. 
WHITE. BLACK. 

1. E. to K. Kt.'s sq. 
2. E. to K. E. s sq. 2. E. takes P. 



TEXT BOOK. 



77 



WHITE. BLACK. 

3. E. to K. Kt."s sq. 3. K. to Q.'s 6th. 

4. K. to Q.'s 5th. 4. K. to his (3th. 

5. K. to K."s 5th. 5. K. to his B."s 7th. and 

wins. 

This is ingeniously played by Black, but you will find, or 
we are mistaken, that Cozio has overlooked a move at 
White's command which turns the tables completely. 
Set the position once more according to the Diagram, 
and begin again with 

AVHITE. BLACK. 

1. E. to K. Kt.'s sq. 

2. E. takes E. 2. P. to K. Kt.'s 7th. 

3. R. to Q. B.'s Sth. 3. P. to K. Kt."s 8th. 

(Becomes a Q., and Checks. ) 

4. K. to Q."s Gth. 

(Dis. Ch., and afterwards Queening 
your Pawn, ought to win. ) 

On looking at the situation you will see that playing 
your Eook to Q. 8th. instead of to K. E."s 8th. makes 
a world of difference, since it enables you to dhcover 
ChecJc when you move your King out of Check, and thus 
to gain the very thnf requirt^d to Qio^eii your Payrn. 

A similar and equally instructive position occurs in the 
same author (see Diagram Xo. 40). 

From this point, disadvantageous as the situation 
appears to be for White, he can draw the game if he have 
first move ; for suppose : — 

WHITE. BLACK. 

1. P. to K. B."s Gth. 1. E. to K."s 3rd. or 

Yariation A. 

(If, instead of so playing, yon moved 
your King to the B."s 2nd, as an in- 
perienced player would do, Black 
could win the game by playing his 
E. at K.'s 4th, and then ChecMng 
you at K. B."s tth.) 



78 THE chess-player's 

DIAGRAV \- 40 Br.ArK. 





m 

WB iSl ^''""''^ 



ilii i J 



White. 



2. E. takes P. Ch. 



•2. E. takes E. 



Cozio now recommends ^liite to play. 3. P. to K. B.": 
Tth. and pm^sues the game thus : — 



S. P. to K, B's 7th. 



3. B. to k:^ Sth. 

(ObTionsly to check ai K. B/s Stli, 
and win the Pawn. 



4. Fl. toK:s 7th. Ch. 
■5. Fl. toK:s 6th. Ch. 
6. Fi. to K.'s 6th. Ch. 

If to B.'s -Ath. Black replie- wiih E. to K. s ^th. always 
threatenino: to wm the Pawn ; — 



4. K. tohis Kt:s 2nd. 
o. K. to his Kt.'s 3rd. 
6. K. to Ms Kt:.< 4th. 



TEXT BOOK. 



79 



WHITE. BLACK. 

r. K. to Kt's 0th. 7. R. to K:s 4th. Ch. 

And the game must be drawn. 

He overlooks, however, that instead of moving 3. E,. 
to K.'s 8th. when the Pawn is advanced to B.'s 7th, Black 
could play 3. K. to his 8th. and win. 

White's correct play, therefore, at move 3. is K. to his 
Kt."s 4th. and then the game is surely drawn. 

VARIATION A. 
T\'HITE. BLACK. 

1. p. to K. B."s eth.^' 1. K. takes R. 

2. P. takes E. 2. K. to Q.'s 7th. 

3. P. Queens. 3. P. Queens. 
And the game must be drawn. 

THE KING WITH A ROOK AGAINST THE KING AND ONE 
OR MORE PAWNS. 

You have already seen some instances in which a single 
Pawn can draw the game even against a Queen : you 
may readily suppose, then, that in similar situations it is 
easier to do so against a Rook. And this you will find to 
be the case, and that where there are two united Pawns 
they often win in spite of him. 

* As was before obseryed, if you were tempted to begin with playing 
your King to his B.'s 2nd, to protect the Roolv, Black would actually win 
the game, for suppose : — 

WHITE. BLACK.' 

1. K. to B.'s 2nd. 1. R. to K."s 4th. 

2. P. to K. B.'s 6th. 2. R. to K. B.'s 4th. Ch. 

3. K. to Kt.'s 3rd. 3. E. takes P., and wins. 



80 THE chess-player's 

The following are examples in point : — 



DIAGRAM No. 41. BlACK. 




"White. 

Here AVhite must lose, even thongli he play lirst : — 

WHITE. BLACK. 



1. E. to K.'s sth. 1. K. to Q.'s 2nd. 

2. K. to his ord. 2. P. Queens, and wins. 

In the position as shown in Diagram 42. Black, having 
the first move, will win the game. <:j\ gr. : — 

WHITE. BLACK. 

1. P. to Q. E."s 7th. 

2. E. to Q. Kt."s 6th. 2. P. to Q. E."s 8th. be- 

coming a Q. 

3. E. takes Kt.'s P. Ch. 3. K. to Q. E.'s 7th. 

Dis. Ch. 



TEXT BOOK. 



81 



4. K. to Q. B/s 2nd. 

DIAGRAM Nc. 42. 



4. Q. to K.'s 8th, and 
wins."^ 

Black. 




11 M IB! ^ 

« M ifi^ 

^1 ini ^1 ifci 



AVhite. 

When the Kings are at a distance (see Diagram Xo. 43) 
two united Pawns at their 6th squares almost invariably 
win against a Eook : — 

Suppose White to play first : — 



WHITE. 

1. E. to K. B.'s 3rd. 

(If you attack the Pawns behind a 
Q. Kt.'s 5th, or Q. B."s 5th, one of 
them Queens equally. ) 

2. R. to K. B.'s sq. 

3. R. to K. Kt;s sq. Ch. 



BLACK. 

1. P. to Q. Kt.'s 7th. 



2. P. to Q. B.*s 7th. 

3. K. to R.'s 6th. 



* Cozio in the same situation makes the Rook win, from overlooking i the 
move of 4. Q. to K.'s 8th, which prevenrs the threatened Check-mate by the 
Rook. 

G 



82 THE ^chess-player's 

WHITE. BLACK. 

4. K. to K. B.'s 3rd. 4. One of the Pawns be- 

comes a Queen and 
wins. 

For the result of a Rook opposed to three Pawns, you 
m^j, when more advanced, consult the " Handbook," 
pages 445-456. 



DIAGRAM No. 43. BlACK. 




White. 

THE KING AND TWO ROOKS AGAINST THE KING AND 
ROOK. 



The larger force in this case usually wins with ease by 
forcing an exchange of the single Rook. Even here, 
however, the rule is not without exception, as the follow- 
ing situation proves. (see Diagram No. 44):— 



TEXT BOOK. 83 



DIAGRAM No. 44. BlACK. 




White. 

Here, from the eircaimstaiifes or his iving being placed 
ill a position of Stale-mate. Black, by o:ffering to sacrifice 
his Rook, can draw the game 

Suppose — 

TVHITE. 

2. K. to his 8:h. 

(If you take ihe E.. Black is obTioiisly 
SLale-mated.j 

3. K. to Q."s 7th. 

4. K. to Q. B."s 7th. 

( And yon must either give Scale-mate 
or suffer perpetual Check. ) 

The next position, from Stamma. as seen in Diagram 
Xo. 45. is a beautiful instance in which the two Eooks 
win. 



BLACK. 

1. R. to Q. Kt."s 2nd. Ch. 

2. R. toQ. Kt.'ssci. Ch. 

3. R. to Q.'s sq. Ch. 

4. R. to Q. B.-s scp Ch. 



84 



THE CHESS-PLAYER"ri 



Black, you will observe, now threatens either to Check- 
mate at once, or win one of the Rooks : by skilful play, 
however. White can force the ^ame. For suppose — 



WHITE. 

1. E. to K. E.'s5th. 

(A beautiful move.) 

2. E. to Q. E.'s 6th. Ch. 

3. E. to Q.E;s5th. Ch. 



BLACK. 

1. E. takes E. 

(He has no 1>etter play.) 

2. K. moves. 

3. K. moves. 



4. E. takes E.. and of course wins 

DIAGRAM No 45 BlACK. 




White. 



THE KING WITH A EOOK AND BISHOP AGAIXST THE 
IvIXG AND A EOOK. 

For somewhere about two centuries. Chess authorities 
have been at issue as the possibility of the major force, 
in this case, winning from all positions : but the much- 



TEXT BOOK. 



85 



vexed question appears at leiigch to be deinitely settled 
— and in the negative. As. however, the subject presents 
difficulties quite insurmountable by any but an experienced 
player, it will be sufficient in the present treatise to exhibit 
two or three of the leading situations, and refer you for 
further information regarding it to the '•Handbook,'* 
pages 449-468. where the whole of the very copious and 
scientific analysis, by which the conclusion is demonstrated, 
will be found i/i fxfpnso. The following is the position 
which Philidor gives as one 'rlilch the Black maij alu-ays 
he forced to tahe up. If iu' had nnjy shon-ji hmr. the ques- 
tion would long since have been set at rest, since, granting 
him this position (see Diagram Xo. 46). nothing can be 

PHILIDORS POSITION. 



DIAGRAM No. 46. BlACK. 




White. 



86 



THE CHESS PLAYER S 



more accurate and elegant than 
wins from it : — 

vrHITE. 

1. E. to Q. B/s 8th. Ch. 1. 

2. E. to Q. B/s 7th. 2. 

( Tliis is his only way ro prevent yonr 
winning imn. ' r, as will 

presently re ■ n yon can 

oncv / - Lirn to muve the Rook: 
to : - ~ or to your Q.'s 3rd, 

th- titer squai'cs o]x-n to 

hill . - - must be won in a few 

3. E. to Q. Kt.'s 7th. 

(Yov - iliat he is obliged to 

oc : the two objectionable 

square- j;;-: mentioned, since, if he 
play the Rook off the file you mate 
at once, and if lie move liis King, 
yon play your R. to K. R.'s 7th, and 
mate in a few moves.) 

4. E. to K. Kt/s 7th. 

5. B. to K. Kt.'s 3rd. 

( You play the Bishop thus to prevent 
his Checking when he moves the 
Rook. ) 

6. E. to K. Kt.'s 4th. 

(He returns the Khr^ thus because 
you now threaten to win directly 
by playing the B. t:i Q."^ 6th. Ch.. 
and afterwards the R. to K. Kt.'s 
8th. vtc. 1 

7. E. to Q. B.'s 4th. 

8. B. to K. E.'s 4th. 

(This you do to iirevei:i his inter- 
posing ihe Ro' ik wlieii ycu Check.'), 

9. B. to K. B."s i3th. 

10. B. to K.'s 5th. 

11. E. to K. E.'s 4th. 

(And you observe his cn:y way to 
delay the mate is by sacrificing 
his R. ) 



the mode in which he 

BLACK. 

E. to Q."s sq. 

E. toQ.'sTth. 



3. K. to Q.'s 8th. 



E. to K. B.': 
Variation I. 

K. to B.s 
Variation II. 



8th. or 



or 



6. K. to his square again. 



<. E. to Q.'s 8th. cr 
Yariation III. 

8. K. to B.'s sq. 

9. E. to K.'s 8th. Ch. 
10. K. to K. Kt.'s sq. 



TEXT BOOK. 



87 



Play these moves over repeatedly until you fully com- 
prehend their scope and purpose, and then proceed to the 
Tariations I.. II.. and III. 



VARIATION I. 

Beginiiing at Black's 4th move : — 

WHITE. 

4. E. to K. Kt."s 7th. 4. 

5. E. to K. E.'s 7th. 5. 

(He is compelled to do this, you see. 
in order to interpose his Rook when 
YOU Check with j'ours, and the con- 
sequence is that you win his Rook 
by force in three or foiu' moves. 

6. E. to Q. B.'s 7th. 

(Again threatening Mate, observe.) 



BLACK. 

K. to^B."s sq. 
E. to K. Kt.'s 8th. 



7. E. to Q. B.'s 8th. Ch. 

8. E. to K. E.'s 8th. Ch. 

9. E. to K. Kt.'s 8th. Ch.. 



6. K. to Kt.'s sq. 

( He has no better move ; if lie Check 
with the Rook at K. Kt.'s 3rd, 3'ou 
simply interpose the Bishop.) 

7. K. to E.'s 2nd. 

8. K. to Kt.'s 3rd. 

winnino- the Eook. 



VARIATION II. 

Beginning at Black's 5th move : — 

WHITE. BLACK. 

5. B. to K. Kt.'s 3rd. 5. E. to K. B.'s 6th. 

6. B. to Q.'s 6th. 6. E. to K.'s 6th. Ch. 

7. B. to K.'s 5th. 7. E. to K. B.'s 6th. 

(Ready to interpose again. If he 
play the K. to B.'s sq. instead, yon 
reply with R. to K. R.'s 7th.) 

8. K. to B.'ssq. 
(If K. to Q.'s sq.. you answer with R. 

to Q. Kt.'s 7th.) 

9. K. to Kt.'s sq. 

Ch. 10. K. to B.'s sq. 

11. K. to his sq. 
(Threatening 'to Check with the B. at (If Black move R. to K.'s 6th, pre- 
Q.'s 6th, and then mate with the R.) venting your B. from playing, 

your answer should be R. to 
K. R.'s Uh.) 

12. B. to K. B.'s 4th. And vou must win. 



8. K. to K.^s 7th. Ch. 

9. E. to Q. B.'s 7th. 

10. E. to K. Kt.'s 7th. 

11. E. to K. Kt.'s 4th. 



88 



THE CHESS-PLAYEK> 



VARIATION III. 

Beginning from Black's 7th move : — 

Again set up the Pieces as in the Diagram, and play up 
to the 7th move : but on Black s side, instead of R.to Q."s 
8th. move — 

"WHITE. I) LACK. 

7, K. to B."s sq. 
8. B. to K."s 5th. ><. K. to Kt.'s. sq. 

6. R. to K. R."s 4th. And yon win evidently. 

From the foregoing Variation you nv^j form some 
notion of the beauty and difficulty of this problem, but 
they form but a very small portion of the multiplied 
combinations which spring from it. and with which you 
must be acquainted hereafter. 



TEXT BOOK. 



89 



CHAPTER IX. 

EXD GAMES WITH THE KIXG AXD PA^XS AGAINST THE 
KIXG AND PA^'S. 

A FEW examples, in which each party is left with his 
King and one or more Pawns. mnsT conclncle our 
Observations on the Endings of G-ames. 

THE KIXG AND A PAAVN AGAINST THE KING AND A PAWN. 

When each side has a single Pawn, and both are able 
to Queen at the same time, the battle is mostly drawn. It 

DIAGRAM No. 47. BLACK. 




White. 



90 



THE CHKSS-PLAYER's 



sometimes happens, however, that one Pawn In Quomauj 
gives Check, and is enabled by that Check or another to 
win the adverse Queen. You will comprehend this better 
from an example (see Diagram Xo. 47) which is given by 
Cozio. 

In this position you will win, notwithstanding Black 
plays first in consequence of your Pawn giving Check at 
the moment of becoming a Queen, ox. gr. : — 

AVHITE. BLACK. 

1. P. to Q. K.'s 4th. 

2. P. to K. E."s 4th. '2. P. to Q. R.*s 5th. 

3. P. to K. E. s 5th. 3. P. to Q. E.'s 6th. 

4. P. to K. R."s 6th. 4. P. to Q. E. s 7th. 

5. P. to K. E. s 7th. 5. P. to Q. E.'s 8th. 

Becorning a Queen. 

6. P. to K. E."s 8th. 6. K. moves. 
Becoming a Queen, and g'tvtng Chech. 

7. Q. takes Q.. and wins. 

From this you ma}' learn the importance of observing 
the relative positions of the Kings, when you are ad- 
vancing a Pawn to Queen. 

THE KING AND TWO PAAVXS AGAINST THE KING AND 
A PAWN. 

Although the two Pawns commonly win. there are very 
many cases where the game can only be drawn, especially 
iche/i the sbigle Pavni is on a Hook's file.'euicl is opposed to 
an adverse Paorn on the same file, supported hy the Kt.'s 
Pavrn. as in the annexed Diagram. No. 48. In this case, 
whichever party plan's first, the game is drawn, and the 
same result occurs whether the B. King stands on his E."s. 
Kt.'s. or B.'s square. Suppose you begin : — 



TEXT BOOK. 



91 



DIAGRAM No. 48. 



Black. 




mm « 



'%m. 



mm w///m 



fM>. mm//. 



m mm. 

y////Z7////. mw////. '////. 




m 



m^ 



^» mm. 






mm 



m 



White. 

^'hite. black. 

1. P. to K. Kt.'s 6tli. 1. p. to K. R.'s 7th. 

(If you play the K. forward instead (If lie take the P. you can win.) 
Black moves his P. to the R.'s 3rd, 
and you can do no more than 
draw the game.) 

2. P. to K. Kt.'s 7th. Ch. 2. K. to Kt.'s sq. 
And the game is drawn. 

In the following (see Diagram Xo. 49) the game must 
also be drawn, whether White or Black begins : — 



WHITE. 

1. P. to K. Kt.'s 6th. 



2. K. tohisB.'s5th. 

3. K. to his B."s 6th. 



BLACK. 

1. P. to K. R.'sSrd. 

(If he take the P. in tins case you 
win. See Variation A. ) 

2. K. to his B.'s sq. 

3. K. to his Kt.'s sq. 



92 



THE CKESS-PLAYEI{"S 



T\-HITE. BLACK. 

■4. P. TO K. Kt/s Tth. 4. K. to R/s 2nd. 

(If you play ilie K. ro 7th. lie 
answer^ with K. ro Kr.'s 2n<l. pve- 
Tenting the nearer appr'jacli of your 
King.; 

And YOU must either abandon the Kt. s P.. or give Black 
Stale-mate. 

VARIATION A. 
AVHITE. BLACK. 

1. P. takes P. 

2. P. takes P. 2. K. to his B."s sq. (best.) 

3. K. to B."s (3th. P). K. to Kt. s sq. 

4. P. to K. Kt/s Tth. 4. K. to E.'s 2nd. 

5. K. to B.'s 7th. and wins. 



DIAGRAM No. 49. P>^ArK. 




White. 



TEXT BOOK. 



93 



The result is the same when Black has a Kt.'s Pawn, 
instead of a Eook"s Pawn, as you may speedily convince 
yourself by setting up the men as in the last Diagram, 
only substituting a Black Pawn at Black's K. Kt.'s 2nd. 
instead of the one at his R.'s 2nd. and playing thus : — 

^'HITK. BLACK. 

1. P. to K. Kt."s 6th. 1. K. to his B.'s sq. 

(If you advance the R.'s P. he can 
take it, and always play his K. to 
the corner to stop your other Pawn, . ' 
and for the result of your moving 
1. K. to his B.'s 5th. see Variation A.) 

2. K. to his B."s 5th. 2. K. to his Kt.'s sq. 
(If to Kt.'s 6th, Black still retains his 

K. to Kt.'s sq., from wlience you 
cannot dislodge him.) 

3. K. to Kt.'s 5th. 3. K. to his R.'s sq. 

4. P. to K. R.'s (3th. 4. K. to his Kt.'s sq. 

( If he take you win.) 

5. P. to K. R.'s 7th. Ch. 5. K. to his R.'s sq. 
And he is Stale-mated. 

VARIATION A. 
WHITE. BLACK. 

1. K. to his B.'s 5th. 1. K. to his B,'s 2nd. 

2. P. to K. Kt.'s 6th. Ch. 2. K. to his B.'s sq. 

3. K. to his 6th. 3. K. to his Kt.'s sq. 

(If K. to his own sq. you win by 
playing P. to K. R.'s 6th.) 

4. K. to his 7th. 4. K. to R.'s sq. 

5. P. to K. R.'s 6th. 5. K. to Kt.'s sq. 

(Again, if he take you win. by 
moving yotir King to his B.'s 7th.> 

6. K. to his 6th (^best). 6. P. takes P. 

(If he reth'es his King again to the- 
R.'s sq., yoti win by playing your 
K. to B.'s ', th. and obliging him to- 
capmre your Pawn, &c.) 

And the same is drawn. 



94 



THE chess-player's 



The next DiaiTam (So. 50) exhibits a position from 
which White wins : — 



DIAGRAM No. 50. 



Bl.ACK. 



mm. ^ mm wm 
mm- A M « 

J « « 



W'WA 



WM 



'WM 

■ ■ 



r' "'1 



''///////y/A '''/////////^ '^/////'M 




n-m, WM 



■vV VI n 



AVHITE. 

1. K. to Q. s (3th. 



<In a former edition of tliis Work tlie 
move of 1. P. to Q. Kt.'s 6th was 
erroneously given as the proper 
mode of play. ) 

2. P. to Q. B.'s 6th. 

(If yon take the Pawn Black can 
di'aw tlie game. ) 

3. P. to Q. B/s 7th. Ch. 

4. K. to his 6rh. 



BLACK. 

1. P. to Q. Kt."s 3rd. or 
Variation A. 



2. K. to Q."s sq. 



3. iv. to Q. B.'s sq. 

4 K. takes P. 



TEXT BOOK. 



95 



AVHITE. 

5. K. to his 7th. 

6. K. to Q;s 6th. 

7. K. to Q/s 7th. 

8. K. to B.'s 6th: 

9. K. to B/s 7th. 
10. K. takes P. 



BLACK. 

5. K. to Q. B.'s sq. 

6. K. to Kt.'s 2nd. 

7. K. to Kt."s sq. 

8. K. to E.'s 2nd. 

9. K. to R."s sq.l 
10. K. to Kt.'s sq. 



11. K. to E."s 6th (best), and wins. 



VARIATION A. - 



2. P. to Q. Kt."s 6th. 

3. K. to his 7th. 

4. K. to Q."s 7th. 



1. K. to Q.'s sq. 

2. K. to Q. B.'s sq. 

3. K. to Kt.'s sq. 

4. K. to R."s sq. 



DIAGRAM No. 51. 



Br.ACK. 




White. 



96 



THE CHESS-PLAYER"S 



AVHITE. BLACK. 

5. P. to Q. B.'s Gth. 5. P. takes P. (best.! 

6. K. to Q. B.'s 7th. 6. P. to B/s 4th. 

7. P. to Q. Kt.'s 7th. Ch.. and wins. 



THE KING AND TWO PAWNS AGAINST THE KING AND 
TWO PAWNS. 

Although the forces here are exactly equal, manj^ 
instrucrive cases arise, where, from an apparently trifling 
advantage of position, one party may wiu. Take the 
following (^see Diagram Xo. 51) for example. 

Here ^Miite. having the move, must win : — 



^VHITE. 

1. P. to Q. K. s 4th. 

2. P. to Q. Kt;s5th. 

3. P. to Q. Kt/s <)th. 

4. P. to Q. Kt/s 7th. 



5. P. to Q. Kt. s 8th. Queens. 5. 

6. Q. to her Kt/s 5th. Ch. 6. 

(By exchanging Queens, and thus 
getting your King from the file, 
where lie ob?tructed the progress 
of your Pawn, before Black can do 
so. you win.) 

7. K. takes Q. 7. 

8. P. to Q. E.-s 4th. 8. 

9. P. to Q. E/s 5th. 

10. P. to Q. E/s 6th. 

11. P. to Q. E."s 7th. 

12. P.toQ.E,"s 8th.Queens. 

13. Q. to K. E/s sq. 
{And then bringing your King up to 

aid the Queen, you obviously vrin 
without difflcultv. ) 



BLACK. 

P. to K. B.-s 4th. 
P. to K. B.'s 5th. 
P. to K. B."s 6th. 
P. to K. B/s 7th. 
P. to B.'s 8th. Queens. 
Q. takes Q. Ch. 



9. 
10. 
11. 
12. 



K. to his Kt.'s 5th. 
P. to K. E. s 4th. 
P. to K. E.'s 5th. 
P. to K. E.'s 6th. 
P. to K. E.'s 7th. 
K. to his Kt.'s 6th. 



TEXT BOOK. 



97 



In the following position (Diagram Xo. 52) White also 
wins, whether he have the fii^st move or not :— 



DIAGRAM No. 52. 



Black. 




m 

mm. m 






mm. m. 




mm 

m 






m mwM 








AVhite. 

Let us suppose Black to begin : 

^'HITE. 



2. P. to K. E.'s 5th. 



3. K. to B.'s 7th. 



BLACK. 

1. P. to K. E.'s 3rd. 

(If to K. R."s 4tli, "White must plav 
his K. to B.'s 7th, then to B.'s 6th,. 
and then, taking the P. next moYe» 
he will win easily.) 

2. K. to E.'s 2nd. 

rif he take either P. with P., White 
must get the other next move to 
Kt.'s 6th, from whence the road to 
yictory is evident.) 

3. P. takes K. E.'s P. 

(If P. takes Kt.'s P., White takes P., 
Ch., &c.) 

H 



98 



THE chess-player's 



BLACK. avhitp:. 

4. p. to K. Kt.'s 6th. Ch. 4. K. to E.'s sq. 

5. P. to Kt.'s 7th. Ch.. making a Q. and giving 

Mate next move. 

The foregoing examples should suffice to afford you a 
tolerable insight into the movements and powers of the 
Chess-men individually, and prepare you tojunderstand 
the more complex invaluations arising from the operation 
of these several forces when in combination altogether. 
Before advancing a step further, however, you are 'strongly 
recommended to play over the whole of the previous 
lessons carefully mamj ir/nes. When thoroughly master 
of the information they contain, and not till then, you may 
proceed to the study of the Opoungs. 



END OF BOOK T. 



TEXT BOOK. 



99 



BOOK II. 



THE OPEXIXGS. 



'HE importance of beginning a game well— that is. of 



rapidly bringing all the force on your own side into 
the best positions for mutual sustainment. either in attack 
or defence, is too evident to need insisting on. There are 
very many methods of opening the game, but the follow- 
ing are the principal : — 

1st. The Ki\Cr"s Kxioht's OiM-.Mxr^— In Avhich each 
party begins by pl-aying his K^z/'j's Pinr,i f,, K'H'js 
■ith sq.. and the first player then moves his Knig s 
K/ugJtt to King >i Bi<hr)p .< Srd ■<<_[. 
2nd. The Kino's Bishop's QpExixr. — In which each 
side plays his Krng'^ P<"rn to Kuni .< 4t]i. and then 
he who had the first move plays Kmg.-i Bishop to 
Quema Bi^hoji.^ 4th sq. 
Srd. The Queen's Bispiop's Pawn Opening.— In 
which each player moves his Kiig's Pn'j-n to 
King >^ 4th sq., and the first then plays his (Juj^fiis 
Bishop s Pau:n to B.'s 3rd .<q. 
4th. The Kino's G-ambit.— In which each party plays 




the King' .< Pourn to King' s 4th sq.: the first player 



100 



THE chess-player's 



then moves his Kings Bishop s Poiniu and his. 
opi'jonejit tahes the Pavr/i with Pcam, 

These Openings are all begun on the Kings side ; there 
are also many others which commence on the Queen's 
side, as the Queen's Gambit, the French Gambit, the 
Sicilian Gambit, and what are known as irregular open- 
ings ; but for these, as well as for several modifications 
of the debuts on the King's side, you must consult works 
intended for a more experienced player. 



TEXT BOOK. 



101 



CHAPTEE I. 

THE KIXG'S El^'IGHT'S OPEXLS'G.* 

•ppjjM this fine old game, handed down to us by the 
earliest writers on Chess, we have derived many of 
the most striking and favonrite openings practised. 

GAME I. 

^HITE. BLACK. 

1. P. to K.'s 4th. 1. P. to K.'s 4th. 

2. K.'s Kt. to B/s 3rd. 

Tour move of the Kt. gives the name to the opening. 
By this move, observe, you threaten to win his King's 
Pawn. Xow he may protect it in five different ways — 
namely, by 

P. to K. B."s 3rd (which is bad). 

K. B. to Q. s 3rd (which is bad also). 

Q. to K. B.'s 3rd (which is not very good). 

P. to Q."s 3rd (which is much better). 

And Q. Kt. to B.'s 3rd (which is considered the 
best). 

He may also leave it unguarded, and attack your King's 
Pawn with his K.'s Kt. We must content ourselves with 
examining the consequences of his adopting the two best 
of these moves. Suppose, therefore, in the first place, 
that he defends his Pawn bv 

2. P. to Q.'s 3rd. 

This known as FJuUdors defence, because that cele- 
brated master recommended it as xjreferable to all other 



* The very limited space at command in a little ti-eatlse like tliLs forbids 
our doing more than indicate the leading moves of those openings touched 
upon. 



102 



THE chess-player's 



ways of protecting the Pawn. Subsequent analysis has 
pretty clearlj^ shown, however, that Philidor was mistaken, 
and that by defending the King's Pawn thus the second 
plaj^er has a much more difficult game than by playing 
the Q.'s Kt. to B.'s 3rd. 

^VHITE. BLACK. 

3. P. to Q.'s 4th. 3. P. to K. B/s 4th. 

Your best move is 3. P. to Q.'s 4th, but you may also 
play 

3. K. B. to Q. B.'s 4th. 

Black's 3rd move is that given hj Philidor. In Yaria- 
tion I. we shall see the effect of his moving 3. K. Kt. to B.'s 
3rd. which is thought b}' manj^ to be better for him. 

4. Q.'s P. takes K. s P. 4, K. B. s P. takes P. 

5. Kt. to K. Kt.'s 5th. 5. P. to Q.'s 4th. 

6. P. to K.'s 6th. G. K. Kt. to E/s 3rd. 

, Your move of 6. P. to K.'s 6th is a very powerful one. 
as it enables you to threaten to play your Kt. to K. B.'s 
7th. and thus win the K.'s Rook. 

Black moves his Kt. to K. P.'s 3rd, to prevent the 
playing of your Kt. to your K. B.'s 7th. 

7. Q. Kt. to B.'s 3rd. 7. P. to Q. B.'s 3rd. 
Instead of attacking his Q.'s P.. you may get a good game 

by playing 7. Q. to K. R.'s 5th. Ch.. and, when he inter- 
poses his Kt.'s Pawn, retiring your Q. to K. R.'s 3rd ; or 
you may play 7. P. to K. B.'s 3rd, as advised by Yon H. 
der Lazza. See the Chess-Player's Handbook." page 65- 

8. K. Kt. takes K.'s P. 8. P. takes Kt. 

At your 8th move, in place of sacrificing your Kt. thus, 
you will have a fine game by taking the K. R.'s P. with it. 
and if Black take the Kt.. you may Check with your Q. 
at Q. E.'s 5th. 

9. Q. to K. K.'s 5th. Ch. 9. P. to K. Kt.'s 3rd. 
Black is obliged to interpose this P., for if he moves his 



TEXT BOOK. 



103 



K. to K.'s 2nd, you would Check with your Q.'s B., and 
win his Queen. 

WHITE. BLACK. 

10. Q. to K/s 5th. 10. K. E. to Kt.'s sq. 

11. Q. B. takes K.'s Kt. 11. B. takes B. 

12. Q. E. to Q.'s sq. 12. Q. to K.'s 2nd. 

13. Kt. takes K.'s P. 13. Q. B. takes K.'s P. 

(His best move.) 

The move given as White's 13th by the chief authors 
was, 13. K. B. to Q. B.'s 4th : but the variation of taking 
the K.'s P. with the Kt.. and following that by. 14. E. 
to Q.'s 6th. is shown in the work just mentioned to be 
superior. 

14. E. to Q.'s 6th. 14. Q. B. to K. B.'s 4th. 
(The winning move.) 

Black has several other ways of playing, the con- 
sequence of which you will see set forth at page 69 of 
the Handbook."' 

15. Kt. to B.'s 6th. Ch. 15. K. to B.'s sq. (best 

move.) 

16. E. to Q.'s 8th. Ch. 16. K. to B.'s 2nd. 

If he take the Eook you take the K.'s E. P. with your 
Kt., Checking, and then play K. B. to Q. B.'s 4th. Ch., &c. 

17. B. to Q. B.'s 4th. Ch. 17. B. to K.'s 3rd. 

(His best play.)^ 

18. Kt. takes E. and you must win. 

VARIATION I. 

Beginning at Black's 3rd move : — 

WHITE. BLACK. 

3. K. Kt. to B.'s 3rd. 
This is much less hazardous than the move of P. to K. 
B.'s 4th. which Philidor commends. 

4. Q. B. to K. Kt.'s 5th. 4. Q. B. to K. Kt.'s 5th. 

5. P. takes K.'s P. 3. B. takes Kt. 

6. Q. takes B. 6. P. takes F. 

7. Q. to her Kt.'s 3rd. 



104 



THE CHESS-PLAYER S 



And you have the better position, because Black must 
protect or move his Q. Kt.'s P.. which will give you time 
to play K. B. to Q. B.'s 4th. and keep up an attack. 

GAME II —THE GIUOCO PIANO. 
WHITE. BLACK. 

1. P. to K.'s 4th. 1 . p. to K.*s 4th. 

2. K. Kt. to B. s 3rd. 2. Q. Kt. to B.'s 3rd. 
This is generally acknowledged to be a l>etter defence 

for Black than the move of 2. P. to Q."s 3rd. which we 
have just examined. 

3. K. B. to Q. B.'s 4th. 3. K. B. to Q. B.'s 4th. 
If. instead of playing otit your Bishop thus, you move 

3. P. to Q.'s 4th. the opening is called the Scotch 
Gambit.' for which see Game III. The present was 
named by the Italian masters the " Giuoco Piano." and is 
an opening very frequently adopted by players of all 
classes. 

4. P. to Q. B.'s 3rd. 4. K. Kt. to B.'s 3rd. 

( His besr move. ) 

If at this point you play 4. P. to Q. Kt.'s 4th. and Black 
takes that Pawn, you have an opening fertile in beautiful 
situations, called the ■'Evan's Gambit. (See Game T.) 

5. P. to Q. E.'s 4th. 5. P. takes P. 

G. P. takes P. 6. B. to Q. Kt.'s 5th. Ch. 

(Be>r.) 

You may also for your Gth moAx play P. to K.'s 5th. to 
which Black's best reply i> 6. P. to Q.'s 4th. (See 
Variation I.) 

7. B. to Q.'s 2nd. 7. B. takes B. Ch. 

( Berter rban rakiug your K.'s P. with 
his K:. I 

8. Q. Kt. takes B. 8. P. to Q.'s 4th .best). 

9. P. takes P. 9. K. Kt. takes P. 
10. Q. to her Kt.'s 3rd. in, Q. Kt. to K.'s 2nd. 

And the game is quite even. 



ERRATUM. 



Page 101 Game II.. Whitens 5th move should be 
P. to Q/s 4th. 



TEXT BOOK. 



105 



VARIATION I. 

Beginning at White's 6th move : — 

WHITE. BLACK. 

6. P. to K.'s 5th. 6. P. to Q/s 4th. 

In Black's situation, it is not uncommon for players to 
move 6. Q. to K.'s 2nd. When that is done you may 
Castle safely. 

7. K. B. to Q. Kt.'s 5th. 7. K. Kt. to K.'s 5th. 

8. B. takes Q. Kt. Ch. 8. P. takes B. 

9. P. takes P. 9. B. to Q. Kt.'s 3rd. 

(Better for liim than Checking with 
the Bishop.) 

10. Castles. 10. Q. B. to K. Kt.'s 5th. 

11. Q. B. to K.'s 3rd. 11. Castles. 
The game is about equal for both. 

GAME III. — THE SCOTCH GAMBIT. 

WHITE. BLACK. 

1. P. to K.'s 4th. 1. P. to K.'s 4th. 

2. K. Kt. to B. s 3rd. 2. Q. Kt. to B.'s 3rd. 

3. P. to Q.'s 4th. 3. Kt. takes P. 

This is. without exception, one of the most instructive 
and entertaining games known, and we regret that our 
limits will admit only of a very meagre sketch of its 
almost infinite varieties. The reader, however, will find 
a copious analysis of this charming opening in the work 
so often referred to, pages 154-182. 

After the advance of your P. to Q.'s 4th, Black is 
obliged to take it, or have a bad position : but he may 
take either with the Kt. or P. The consecjuences of his 
capturing Pawn with Pawn are shown in Game lY. 

4. Kt. takes Kt. 4. P. takes Kt. 

You can also take the K.'s P. with your Kt., and obtain 
a slight superiority of iDosition. 

5. Q. takes P. 5. Kt. to K.'s 2nd. 



106 



THE CHESS-PLAYER"< 



He may play 5. Q. to K. B.'s 3rd instead of this move. 

but you will still have the better position. 

BLACK. 

6. K. B. to Q. B. 4th. 6. Kt. co Q. B."s 3rd. 

If you play the Q. B. to K. Kt."s 5th. thinking to pre- 
vent his Kt. from moving, he may still answer with 6. Kt. 
to Q. B.'s 3rd. V)ecause. although he would leave his Q. 
attacked hy your B.. he at the same time threatens to 
take yours. 

7. Q. to her 5th. 7. Q. to K. B.'s 3rd ibest). 

8. Castles. 8. B. to K.'s 2nd. 
The game is pretty equal. 

GAME IV. 
^'HITE. BLACK. 

1. P. to K.'s 4th. 1. P. to K.'s 4th. 

2. K. Kt. to B. s 3rd. 2. Q. Kt. to B. s 3rd. 

3. P. to Q. s 4th. 3. P. takes P. 

This is now considered a better move for Black than 
taking with the Kt. 

4. K. B. to Q. B. s 4th. 4. K. B. to Q. B. s 4th 

0;.e^r.l 

For the result of his playing 4. K. B. to Q, Kt.'s 5th. 
Ch.. see Variation I. 

You may also take the P. with your Kt. at once, as in 
Tariation II.. but the move above is that generally 
adopted. 

5. P. to Q. B. s 3rd. 5. P. to Q.'s 6th. 

Your move of 5. P. to Q. B.'s 3rd. is preferable to the 
more inviting one of 5. K. Kt. to his 5th : for. although it 
appears to enable Black, if he choose, to win a Pawn, he 

could only do so at the expense of another more valuable, 
since, on his taking P. with P.. you could take his K. B.'s 
P. with your B.. Ch.. and when his K. took your B.. you 
could play Q. to her 5th. Ch.. and then capture his B. in 
return for your own. He advances his P. to your Q.'s 



TEXT BOOK. 



107 



6th. foreseeing the advantage you ^ould gain by his taking 
P. with P.. and at the same time to prevent your getting 
two Pawns abreast in the centre. Perhaps his safest play 
is to move 5. K. Kt. to B."s 3rd. which resolves the game 
into a position of the Giuoco Piano, before given. 

WHITE. BLACK. 

6. P. to Q. Kt."s 4th (best). 6. K. B. to Q. Kt."s 3rd. 

7. P. to Q. Kt.'s 5th (best). 7. Q. to K.'s 2nd. 

This is his best move. If you snatch at his Kt. he can 
take your K.'s P.. Ch.. and afterwards take the Bishop. 

8. Castles. 8. Kt. to K.'s 4th. 

9. Kt. takes Kt. 9. Q. takes Kt. 
10. Q. to her Kt.'s 3rd. 

And whether Black retreat his Q. to K. B.'s 3rd. or to 
K.'s 2nd to protect his K. B.'s P.. you will have a fine 
game. 

VARIATION I. 

Beginning at Black's 4th : — 

WHITE. BLACK. 

4. K.B.toQ.Kt.'s5th. Ch. 

5. P. to Q. B.'s 3rd. 5. P. takes P. 

6. Castles. (3. P. to Q. B.'s 7th. 
Black plays thus to prevent your Q. Kt. coming into 

play at the moment. If he venture to take the Q. Kt.'s 
P. with his P.. you obtain a fine attack with your two 
Bishops. 

7. Q. takes P. 7. P. to Q.'s 3rd. 

8. P. to Q. E.'s 3rd. 8. K. B. to Q. B.'s 4th. 

9. P. to Q. Kt.'s 4th. 9. B. to Q. Kt.'s 3rd (best). 

10. Q. B. to Q. Kt.'s 2nd. 10. K. Kt. to B.'s 3rd. 
Your game is better developed than Black's. 

VARIATION II. 

Beginning at White's move : 

WHITE. BLACK. 

4. Kt. takes P. 4. Q. to K. R.'s 5th.. 



108 



THE CHLSS-PLAYER's 



Although less frequently adopted than the former mode 
of play, taking the P. is perfectly safe, and leads to many 
striking situations. 

Black's rejoinder is highly ingenious. If you answer 
it with 5. Q. to her 3rd, he gets a fine game by playing 
5. K. Kt. to B.'s 3rd : and if you reply with 5. Q. Kt. to 
B.'s 3rd. he obtains an advantage by 5. K. B. to Q. Kt.'s 5th. 

^'HITE. BLACK. 

5. K. Kt. to Q. Kt.'s 5th. 5. K. B. to Q. B.'s 4th. 

You here threaten to win his Q. R. If he play the 
obvious move of 5. Q. takes K. ?.. Ch.. you must move 
your K. B. to K.'s 2nd ; and if he then play G. K. B. to 
Q.'s 3rd. to guard his Q. B. P. from your Kt.. you can take 

the B. with your Q.. tr'nnhig his Q. in rvinrn if he take 
yourx. 

G. Q. to K. B.'s 3rd. G. Q. Kt. to Q.'s 5th. 

7. Kt. takes Q. B.'s P. Ch. 7. K. to Q.'s sq. (best.) 

8. Q. to K. B.'s 4th. 8. Kt. takes Q. B. s P. Ch. 

9. K. to Q.'s sq. 9. Q. takes Q. 

10. B. takes Q. 10. Kt. takes Q. R. 

11. Kt. takes Q. R.. and you have the advantage. 

This variation is too difficult for you to comprehend at 
once : play it over, therefore, repeatedly till you under- 
stand the object of the moves : it will repay the study. 

GAME Y. — THE EYAX'S GAMBIT. 
WHITE. BLACK. 

1. P. to K."s -Ith. 1. P. to K.'s 4th. 

2. K. Kt. to B. s 3rd. 2. Q. Kt. to B.'s 3rd. 

3. K. B. to Q. B. s 4th. 3. K. B. to Q. B.'s 4th. 

4. P. to Q. Kt. s 4th. 4. K. B. takes Kt.'s P. 

This beautiful variation of the Giuoco Piano arises 
from the sacrifice of your Q. Kt.'s P. at the 4th move. 
Black must either retreat his B. or take it with the B. or 
Kt. If he declines to take it. you must not push the P. 



TEXT BOOK. 



109 



one step further, attacking his Kt. with the view to win 
his K.'s P.. because, after playing his Kt. to Q. R.'s 4th. he 
could move his Q. to K. B.'s 3rcL when you had taken his 
P., attacking yourKt., and threatening to Check-mate you. 
Your best, or, at least, your safest play, therefore, instead 
of P. to Q. Kt.'s 5th, would be to Castle, or move P. to 
Q. E/s 4th. 

If he prefer taking the Q. Kt.'s P.. at move 4. with his 
Kt., it is not prudent for you to take his K. P. with your 
K. Kt.. on account of his playing in reply. 5. Q. to K. B.'s 
3rd. You had better, therefore, move 5. P. to Q. B.'s 3rd, 
as you do if he take with the Bishop. 

V.-HITE. BLACK. 

5. P. to Q. B.'s 3rd. 5. K. B. to Q. B.'s 4th. 

If Black retreats the B. to Q. R.'s 4th, it admits fre- 
quently of your playing the Q. to Kt.'s 3rd, without the 
danger of her being attacked by his Q. Kt. (see Game II.) 
If he retire him to K.'s 2nd or Q.'s 3rd. you must speedily 
get an improved attack. 

6. Castles. 6. P. to Q.'s 3rd. 

At your 6th move you may also play 6. P. to Q.'s 4th, as 
in Yariation I. 

If Black, instead of 6. P. to Q.'s 3rd, move 6. K. Kt. to 
B.'s 3rd. you must reply with 7. P. to Q.'s 4th. and you 
insure a great attack. 

7. P. to Q.'s 4th. 7. P. takes P. 

8. P. takes P. 8. B. to Q. Kt.'s 3rd. 

9. Q. B. to Q. R.'s 3rd. 9. K. Kt. to B.'s 3rd. 

10. P. to K.'s 5th. 10. P. takes P. 

11. Q. to Kt.'s 3rd. 

You have an undoubted advantage. 



110 



THE chess-player's 



VARIATION I. 



Beginning at White s 6th move : 



AVHITE. 



BLACK. 



6. P. to Q.'s 4th. 

7. P. takes P. 



G. P. takes P. 



7. B. to Q. Kt.'s Brd. 



In place of taking the P. you can Castle safely at this 
stage, and if Black then take j^our Q. B.'s P., with P.. you 
will strengthen your attack by playing 8. P. to K.'s 5th. 
Should Black at his 7th move, instead of retiring his B. 
to Q. Kt.'s 3rd, give Check with him. 3'our best move is 
8. K. to B.'s sq. 

8. Castles. 8. P. to Q/s 3rd. 

9. P. to Q.'s 5th. 1). Q. Kt. to K."s 2nd. 
This is much better for him than to play his Kt. to K.'s 

4th, or Kt. to Q.'s 4th. If he play the former, you answer 
with Kt. takes Kt.. following that with Q. B. to Q. R.'s 
3rd, and if he play the latter, you can move Q. B. to Q. 
Kt.'s 3rd. and then Q. B. to Q.'s 3rd advantageously. 
10. Q. B. to Q. Kt."s -ind. 10. K. Kt. to B.'s 3rd. 

You may now take oS: his K. Kt.. and then move K. 
Kt. to Q.'s 4th, and afterwards P. to K. B.'s 4th. with a 
fine open game. 



GAME II. 



^'HITE. 



BLACK. 



1. P. to K.'s 4th. 



1. P. to K.'s 4th. 



2. K. Kt. to B.'s 3rd. 

3. K. B. to Q. B.'s 4th. 

4. P. to Q. Kt.'s 4th. 

5. P. to Q. B.'s 3rd. 

6. Castles. 



2. Q. Kt. to B.'s 3rd. 

3. K. B. to Q. B. s 4th. 

4. K. B. takes Kt.'s P. 

5. K. B. to Q. E.'s4th. 

6. P. to Q.'s 3rd. 



TEXT BOOK. 



Ill 



With his B. at Q. E.'s 4th, he may more safely adopt 
the defence of 6. K. Kt. to B.'s 3rd. than when the B. is at 
Q. B.'s 4th. (See Variation I.) 



You may now take the K.'s P. with your Kt.. having by 
far the better game. 

VARIATION I. 

Beginning at Black's 6th move : 

AVHITE. BLACK. 

6. K. Kt. to B.'s 3rd. 
!7. K. Kt. to his 5th. 7. Castles. 

If 3^ou move 7. P. to Q.'s 4th, his best play is to Castle, 
we think. 

8. P. to K. B.'s 4th. 8. P. to Q.'s 4th. 

He has a variety of moves at command here. If he 
play 8. P. to K. K.'s 3rd, you reply by taking his K. B. P. 
with your Kt.. and, on his capturing your Kt.. you take 
the R. with your B.. checking afterwards, taking his K- 
P. with P.. and then by checking, with your Q. at K. R.'s 
5th, you win one of his Kts., and have a splendid 
position. 

Should he at his 8th move play K. P. takes K. B.'s P., 
you may advance, as move 9, your P. to Q.'s 4th. and if he 
then attack your K. Kt. with the K. R.'s P.. you can leave 
the K. Kt. to his fate, merely taking the doubled P. with 



WHITE. 



BLACK. 



7. P. to Q.'s 4th. 

8. Q. to her Kt's 3rd. 



7. P. takes P. 

8. Q. to K.'s 2nd. 

9. P. takes K.'s P. 

10. K. B. to Q. Kt.'s 3rd. 

11. Q. to K. B.'s 3rd. 



9. P. to K.'s 5th. 
10. R. to K.'s sq. 



11. B. to Q. R.'s 3rd. 



112 



THE CKESS-PLAYEK'S 



Q. B. first, and the P. which took 3'our Kt. afterwards, 
and you must have an overwhelming position of attack. 

WHITE. 

9. P. takes Q. P. 

10. P. to Q.'s 4th. 

11. Q. to her Kt.'s 3rd. 



12. B. takes Kt. 

13. P. to K. Kt.'s 3rd. 
Black has the better game. 



BLACK. 

9. K. Kt. takes P. 

10. P. to K. K.'s 3rd. 

11. P. takes Kt. 

12. K. P. takes B. P. 

13. Kt. to K.'s 2nd. 



TEXT BOOK. 



113 



CHAPTEE 11. 

THE KING'S BISHOP'S OPEXIXG. 

A N instructive and excellent mode of beginning the 
game ; according to Philidor, indeed, the very best 
which the opening player can adopt. 

GAME I. 

WHITE. BLACK. 

1. P. to K.'s 4th. 1. P. to K.'s 4th. 

2. K. B. to Q. B.'s 4th. 2. K. B. to Q. B.'s 4th. 
Your second move here is hardly so attacking as 2. 

K. Kt. to B.'s 3rd, but it may be played with perfect 
safety, and it leads to many fine games. 

In answer to it, Black may play his K. B. out also, as 
above, or he may move 2. K. Kt. to B.'s 3rd, as in G-ame II. 

3. P. to Q. B.'s 3rd. 3. K. Kt. to B.'s 2nd. 
You have a great choice of moves at this point. If you 

play 3. Q. to K.'s 2nd, the opening is generally resolved 
into what is called the ''Lopez G-ambit." For that, and 
the result of 3. Q. to K. Kt.'s 4th ; or 3. Q. to K. E.'s 5th ; 
or 3. P. to Q. Kt.'s 4th ; or 3. P. to Q.'s 4th, see the " Hand- 
book," pp. 204-222. Black also may play variously after 
your move of 3. P. to Q. B.'s 3rd. Perhaps his best 
answer is the one above ; or 3. Q. to K. Kt.'s 4th ; or 3. 
P. to Q.'s 4th. See the Handbook," pp. 200-202. 

4. P. to Q.'s 4th. 4. P. takes P. 

5. P. to K.'s 5th. 5. P. to Q.'s 4th. 

Black may likewise play 5. Q. to K.'s 2nd ; or 5. K. Kt. 
to K.'s 5th ; but in either case you get the advantage of 
position shortly. 

6. P. takes Kt. (best.) 6. P. takes B. 

7. P. takes K. Kt.'s P. 7. E,. to K. Kt.'s sq, 



114 



THE chess-player's 



If he Check with his Q. at K.'s 2nd, first, you should 
interpose your Q. B. at K.'s 3rd. and he dare not take it 
on account of the jeopardy his R. is in. 

^VHITE. BLACK. 

8. Q. to K. R. s 5th. 8. Q. to K.'s. 2nd. Ch. 

9. K. to Q."s sq. 9. E. takes P. 

10. K. Kt. to B.'s Brd. 10. Q. Kt. to B.'s 3rd. 

11. K. R. to K.'s sq. 11. Q. B. to K.'s 3rd. 

12. R. takes Q. B. 12. Q. takes R. 

13. Q. takes B., and you have the better game. 

GAME II. 

AVHITE. BLACK. 

1. P. to K.'s 4th. 1. P. to K.'s 4th. 

2. K. B. to Q. B.'s 4th. 2. K. Kt. to B.'s 3rd. 
This is pretty generally thought now to be a better defence 
for Black than the former one. 

3. P. to Q.'s 4th. 7. P. takes P. 

You may here play 3. K. Kt. to B.'s 3rd : or Q. Kt. to 
B.'s 3rd, and still retain the advantage of the first move. 

4. P. to K.'s 5th. 4. P. to Q.'s 4th (best play). 

5. B.toQ.Kt.'s3rd(best). 5. Kt. to K.'s 5th. 

6. K. Kt. to K.'s 2nd. 6. P. to Q. B.'s 4th. 

7. P. to K. B.'s 3rd. 7. K. Kt. to his 4th. 

8. K. Kt. to B.'s 4th. 8. P. to Q. B.'s 5th. 

9. B. to Q. R."s 4th. Ch. 9. Q. Kt. to B.'s 3rd. 
The game is about equal. 



TEXT BOOK. 



115 



CHAPTEE III. 

THE QUEEX'S BISHOP'S PAWX OPEXIXG. 

^'•j^His was, in all likelihood, a favourit-e mode of 
beginninof the game formerly, and although it is not 
so attacking as some others, it may be played, as the great 
Italian masters have shown, without disadvantage, 

GAME I. 

TVHITE. BLACK. 

1. P. to K."s 4th. 1. P. to K.'s 4th. 

2. P. to Q. B.'s 3rd. 2. P. to Q.'s 4th (best). 

If Black answer for his second move with K. Kt. to B.'s 
3rd you must play 3. P. to Q.'s 4th. 

3. K. Kt. to B.'s 3rd (best). 3. P. takes K. P. 

He may also play 3. K. Kt. to B.'s 3rd. as in Variation I. 

4. Kt. takes K. P. 4. K. B. to Q.'s 3rd. 

You may likewise play 4. Q. to Q. R."s 4th, Ch., and 
then take the doubled P. with your Q. 

5. Kt. to Q. B."s 4th. 5. Q. B. to K."s 3rd. 
At this point, also, you might Check with your Q. 

6. P. to Q.'s 4th. 6. P. takes P. (in passing). 

7. B. takes P. 

The positions are about equal. 

VARIATION I. 

Beginning at Black's 3rd move. 

^'HITE. BLACK. 

3. K. Kt. to B.'s 3rd. 

4. P. to Q.'s 4th. 4. Kt. takes K.'s P. 

5. Kt. takes K.'s P. 5. K. B. to Q.'s 3rd. 

6. K. Kt. to Q.'s 3rd. 6. P. to Q. B.'s 4th. 
The game is even. 



116 



THE chess-player's 



CHAPTEE IT. 

THE KIXG'S GAMBIT. 

'•j^HE Italian word "Gambit'* was before explained to 
mean a feint in ^Yre^tling by which an aclvei-sary is 
tripped up. It is applied in Chess-playing to those 
openings of the game in which the first player sacrifices a 
Pawn for the purpose of more rapidly liberating his 
Pieces, and gaining an attack. Of all openings the 
Gambits are the general favourites. They afford so many 
opportunities for brilliant and daring strategy, and seA'eral 
such infinite and admirable combinations, that their study 
will always prove a source of advantage and delight. 

There are several varieties of Gambits, as the K. Kt.'s 
Gambit : the Cunningham Gambit : the Salyio and 
Cochrane Gambits : the Muzio Gambit : the Algaier 
Gambit : the King's Bishop's Gambit : the Evan's 
Gambit : the Lopez Gambit ; and the Queen's Gambit ; 
but the majority of these are only modifications of the 
King's Gambit. 

GAME I. 

WHITE. BLACK. 

1. P. to K.'s 4th. 1 . P. to K.'s 4th. 

2. P. to K. B. s 4th. 2. P. takes K. B. P.* 

3. K. Kt. to B.'s 3rd. 3. P. to K. Kt.'s 4th (best). 
Instead of playing the K. Kt. out at this juncture you 

may move your K. B. to Q. B.'s 4th. which constitutes the 
K. B.'s Gambit, for the leading moves of which see 
Game YI. 

* Black may refuse to take the Pawn ; if so, his best more is probably 
2. B. to Q. B.'s 4th, or 2. P. to Q.'s -ith, but it usually happens that, by 
declining the Gambit, the second player subjects Mmself to a disadvan- 
tageous position. 



TEXT BOOK. 



117 



If Black, in place of advancing his Kt.'s P. now, should 
move his K. B. to K.'s 2nd, we get the " Cunningham " 
Gambit. (See G-ame II.) 

WHITE BLACK. 

4. K. B. to Q. B.'s 4th, 4. B. to K. Kt.'s 2nd. 

If. in lieu of 4. B. to Q. B.'s 4th, you play 4. P. toK. E.'s 
4th. we have the Algaier" Gambit. (See Game \ .) 

Some of the most beautiful varieties of the Gambit 
spring from this point. If Black, instead of moving his 
B. to K. Kt.'s 2nd, play 4. P. to K. Kt.'s 5th, it gives rise 
to the celebrated Salvio," or ''Cochrane," or "Muzio" 
Gambits, the chief moves of which you will find in 
Games III. and lY. 

5. P. to Q.'s 4th. 5. P. to Q.'s 3rd. 
You may also play 5. P. to K. B.'s 4th. 

6. P. to Q. B.'s 3rd. 6. P. to K. Kt.'s 5th. 
This move of Black gives him the best of the game, as 

you have no option but to retire or sacrifice the Kt. 

7. Kt. to his sq. 7. Q. to K. R."s 5th. Ch. 

8. K. to B. s sq. 8. K. B. to K. B.'s 3rd. 

9. Q. to her Kt.'s 3rd. 9. Q. to K. B.'s 4th. 

And Black will be enabled to develope all his pieces, 
while most of yours are kept inactive by his advanced 
Pawns. 

GAME II.— THE CUXNIXGHAM GAMBIT. 

This lively variation should properly be called a defence 
to the King's Gambit. 

WHITE. BLACK. 

1. P. to K.'s 4th. 1. P. to K.'s 4th. 

2. P. to K. B.'s 4th. 2. P. takes P. 

3. K. Kt. to B.'s 3rd. 3. K. B. to K.'s 2nd. 

Black plays thus with the object of checking at the 
K. R.'s 5th, and compelling you either to move your King 



118 



THE CHESS-PL AYE R"S 



(by which you would be prevented Castling), or interpose 
a Pawn disadvantageously. 

^HITE. BLACK. 

4. K. B. to Q. B. s 4th. 4. B. to K. R. s 5th. Ch. 

5. P. to K. Kt.'s 3rd. 5. P. takes P. 
Your safest move is. perhaps. 5. K. to B.'s sq. 

6. Castles. 6. P. takes P. Ch. 

7. K. to R. s sq. 7. K. B. to his 3rd. 

This is a singalir position : and at first sight you will 
be startled at your deficiency in Pawns. On looking 
deeper into the game, however, you will find that your 
pieces are admirably disposed for attack, and that the 
greatest possible care will be required from Black to 
parry it. 

8. K. Kt to K.'s. 5th. 8. B. takes Kt. (best). 

9. Q. to K. R. 5th. 9. Q. to K.'s 2nd (best). 
Observe the powerful attack you have got upon his K. 

B.'s P. 

10. R. takes K. B."s P. 10. Q. to her B.'s 4th. 

He moves thus to avoid your winning his Q. by the 
Discovered Check, and to threaten you with Check-mate. 

11. R. to K. B.'s 8th. 11. K. to his 2nd. 
Giving Double Ch. 

12. P. to Q.'s 4th. 12. Q. takes B. 

13. Q. to K.'s 8th. Ch. 

And afterwards taking the Bishop, you must win. 

GAME III. — THE SALVIO AND COCHEANE GAMBITS. 

Like the opening just examined, these are, properly 
speaking, chneuces to the King's Gambit, rather than 
Gambits themselves. 



TEXT BOOK. 



119 



BLACK. 



1. P. to K.'s 4th. 

2. P. to K. B.'s 4th. 

3. K. Kt. to B.'s 3rd. 

4. K. B. to Q. B.'s 4th. 



1. P. to K.'s 4th. 

2. P. takes P. 

3. P. toK.Kt.'s4th. 

4. P. to K. Kt.'s 5th. 



Upon you it now depends what form the G-ambit shall 
assume. If you Castle at this moment, or play 5. P. to 
Q.'s 4th, Black can take your Kt.. and the Muzio Gambit 
is formed. 



By playing your Kt. to K.'s 5th. you appear to make a 
formidable attack upon the adverse K. B.'s P.. but his 
counter move of Q. to B.'s 5th compels you to suspend 
aggressive operations, and look at home. 



Advancing the Kt.'s P. to cover his Check would be fatal 
to you. 

Black's move of 6. K. Kt. to K. B.'s 3rd constitutes the 
Salvio defence. Salvio also proposed 6. K. Kt. to B.'s 3rd, 
the consequences of which shall be briefly shown in 
Yariation I. If, instead of either of these moves, he play 
6. P. to K. B.'s 6th, the Cochrane defence is produced. 
(See Yariation il,) 

7. Q. to K.'s sq. (best.) 7. Q. takes Q. Ch. 

If at your 7th move you take the K. B.'s P. with either 
Kt. or B., you get a bad game. 

8. K. takes Q. 8. Kt. takes K. P. 

9. B. takes K. B.'s P. Ch. 9. K. to his 2nd. 

10. B. to K. R.'s 5th. 10. P. to K. Kt.'s 6th. 

You may now play 11. P. to K. R.'s 3rd with a slight 
advantage in situation. 



5. K. Kt. to K.'s 5th. 



5. Q. to K. E.'s 5th. Ch. 



6. K. to B.'s sq. 



6. K. Kt. to K. B.'s 3rd. 



VARIATION I. 



Beginning at Black's 6th move : — 



BLACK. 



6. K. Kt. to R.'s 3rd. 



120 



THE chess-player's 



This is a better mode of defence than playing the Kt. 
to B.'s 3rd. 

^VHITE. BLACK. 

7. B. to Q.'s 4th. 7. P. to K. B/s 6th (best). 

8. P. takes P. 8. P. to Q.'s 3rd. 

9. Kt. to Q.'s 3rd. 9. P. takes P. 
And Black has the better game. 

VARIATION II. 

Beginning at Black's 6th move : — 

THE COCHRANE GAMBIT. 
WHITE. BLACK. 

6. P. to K. B.'s 6th. 
This is the mode of defence which Mr. Cochrane 
suggested, instead of playing out the K. Kt. 

7. P. to Q.'s 4th (best). 7. P. takes .K. Kt.'s P. 

Ch. (best). 

8. K. takes P. 8. Q. to K. R.*s 6th. Ch. 

9. K. to Kt.'s sq. 9. K. Kt. to R.'s 3rd. 
And we prefer Black's game. 

GAME IV.— THE MUZIO GAMBIT. 
WHITE. BLACK. 

1. P. to K.'s 4th. ' 1. P. to K.'s 4th. 

2. P. to K. B.'s 4th. 2. P. takes P. 

3. K. Kt. to B.'s 3rd. 3. P. to K. Kt.'s 4th. 

4. K. B. to Q. B.'s 4th. 4. P. to K. Kt.'s 5th. 

5. Castles. 5. P. takes Kt. 

The earliest allusion to this, the most brilliant and 
animated variation of the K.'s Gambit, is given in Salvio's 
Treatise, published in 1604. ^ 

By the sacrifice of your Kt. you are enabled so rapidly 
to concentrate your forces on the adverse King that 
escape from the attack without great loss is hardly 
practicable. Instead of Castling at the 5th move you may 



TEXT BOOK. 



121 



play 5. P. to Q/s 4th (see Yariation I.), or 5. Q. Kt. to 
B.'s 3rd. 

WHITE. BLACK. 

6. Q. takes P. 6. Q. to K. B.'s Brd (best). 

Black plays thus to defend th^. Grambit P., which you 
cannot take without submitting to an exchange of Queens, 
a step especially to be avoided, seeing that you have 
already sacrificed a Piece for the sake of an attack, which 
is mainly to be sustained by your Queen. 

7. P. to K.'s 5th. 7. Q. takes P. (best.) 
You sacrifice this P. to enable you presently to attack 

his Q. with your K. s Rook. 

8. P. to Q.'s 3rd. 8. K. B. to K. R.'s 3rd. 
Defending your K. B. and attacking the Gambit Pawn. 

9. Q. B. to Q.'s 2nd. 9. K. Kt. to K.'s 2nd. 
Your two last moves were preparatory to this one, which 

you now threaten to follow by R. to K.'s sq., or Q. B. to 
B.'s 3rd. It is obvious that Black must save his Q. by 
moving her. or covering his King with some other Piece. 

10. Q. Kt. to B.'s 3rd. 10. Q. Kt. to B.'s 3rd. 

He may also play 10. P. to Q. B.'s 3rd. with at least 
€qual advantage. 

11. Q. R. to K.'s sq. 11. Q. to Q. B.'s 4th. Ch. 
You now see the importance of Black's 9th move of Kt. 

to K.'s 2nd ; but for that he must now have lost his Q. for 
a Rook. 

12. K. to R.'s sq. 12. Q. Kt. to Q.'s 5th. 

13. R. takes K. Kt. Ch. 13. K. takes R. (best). 

14. Kt. to Q.'s 5th. Ch. 14. K. to Q.'s sq. 

15. Q. to K. R.'s 5th. 15. Q. to K. B.'s sq. (best.) 

16. Q. to K. R.'s 4th. Ch. 16. P. to K. B.'s 3rd. 

17. Q. B. takes double P. 17. B. takes B. 

18. R. takes B. 18. Kt. to Q. B.'s 3rd. 

If he play 18. P. to Q.'s 3rd, or 18. P. to Q. B.'s 3rd, or 



122 



THE chess-player's 



18. Kt. to K.'s 3rd, you can take the K. B.'s P. with your 
R., and the discovered Ch. must be fatal to him. 

WHITE. BLACK. 

19. R. takes K. B.'s P. 19. Q. to K.'s sq. 

20. R. to B.'s 8th. Dis. Ch. 20. Kt. to K.'s 2nd. 

21. Q. takes Kt. Mate. 

VARIATION I. 

Beginning at White's 5th move : — 

AVHITE. BLACK. 

5. P. to Q.'s 4th. 5. P. takes Kt. 

This mode of continuing the attack instead of Castling 
was for some time thought to be irresistible ; it is not now. 
however, considered so advantageous as the old move. 

6. Q. takes P. 6. P. to Q.'s 4th. 

You may get a strong but hazardous attack by Castling 
here instead of taking the P. 

7. K. B. takes Q. P. 7. P. to Q. B.'s 3rd. 

8. B. to Q. Kt.'s 3rd. 8. Q. takes Q. P. 
Taking the K. B.'s P. with your B., Ch., will give you a 

powerful attack, but retreating the B. is more to be 
commended. 

9. Q. B. takes P. ' 9. K. Kt. to B.'s 3rd. 

If he play 9. Q. takes Q. Kt.'s P., you reply with 10. Q. 
to K. B.'s 5th. 

10. Q. Kt. to Q.'s 2nd. 10. Q. B. to K. Kt.'s 5th. 

11. Q. Kt.'s 3rd. 11. K. Kt. takes P. 

12. Q. Kt. takes Kt. 12. Q. takes Kt. Ch. 

If you take the B. with your Q., Black may play 12. Q. 
to K. B.'s 7th, Ch., then 13. Q. takes Kt., Ch., and then, 
when you take his Q., 14. K. to K. B.'s 7th, &c., winning 
your Q. in return. 

13. K. to Q."s 2nd. 

There is not much difference in the game. 



TEXT BOOK. 



12^ 



VARIATION II. 

Begiiining at ^Yhite's 5th move : — 

WHITE. BLACK. 

5. Q. Kt. to B.'s 3rd. 5. P. takes Kt. 

The move of Q. Kt. to B.'s 3rd, instead of Castling, was 
first introduced by Mr. M'Donnell ; the object of it is to 
attack the Q. immediately, if she go to K. B.'s 3rd, and 
thus deprive Black of the advantage of the usual defence. 

6. Q. takes P. 6. P. to Q.'s 4th. 

7. B. takes Q.'s P. 7. P. to Q. B.'s 3rd. 

8. B. to Q. Kt.'s 3rd. 8. Q. B. to K.'s 3rd. 
And Black has not much to apprehend from your attack. 

GAME V. — THE ALGAIER GAMBIT. 
WHITE. BLACK. 

1. P. to K.'s 4th. 1. p. to K.'s 4th. 

2. P. to K. B.'s 4th. 2. P. takes P. 

3. K. Kt. to B.'s 3rd. 3. P. to K. Kt.'s 4th. 

4. P. to K. E.'s 4th. 4. P. to K. Kt.'s 5th (best). 
This variation on your 4th move leads to a Grambit 

introduced by the German writer Algaier, and which, if 
not properly opposed, gives the first player a forcible 
attack. 

5. Kt. to K. Kt.'s 5th. 5. P. to K. E.'s 3rd. 

You may also play 5. Kt. to K.'s 5th, as in Variation I. 

6. Kt. takes K. B.'s P. 6. K. takes Kt. 

7. Q. takes P. 7. K. Kt. to B.'s 3rd. 

8. Q. takes the Gambit P. 8. K. B. to Q.'s 3rd. 
This is Black's best move, and it at once gives the 

advantage into his hands. 

9. B. to Q. B.'s 4th, Ch 9. K. to Kt.'s 2nd. 

10. Q. to K. B.'s 5th. 10. B. to K. Kt.'s 6th. Ch. 

He can afterwards play 11. E. to K. B.'s sq., and have a 
winning superiority. 



124 



THE chess-player's 



VARIATION I. 

Beginning at White's 5th move : — 

WHITE. BLACK. 

5. Kt. to K.*s 5th. 5. P. to K. E.'s 4th (best). 
Your present move is a better one than phiying the Kt. 

to his own 5th- 

6. K. B. to Q. B.'s4th. G. K. Kt. to E.'s 3rd (best). 
He may also pla}' 6. K. K. to E.'s 2nd. 

7. P. to Q.'s 4th. 7. P. to Q.'s 3rd. 

8. Kt. to Q.'s 3rd. 8. P. to K. B.'s 6th. 

9. P. to K. Kt.'s 3rd. 9. P. to Q.'s 4th. 

10. B. takes Q. P. 10. P. to Q. B.'s 3rd. 

11. B. to Q. Kt.'s 3rd. 11. Q. takes Q. P. 
Black's game is to be preferred. 

GAME Y. — THE KIXG's BISHOP'S GAMBIT. 
AYHITE. BLACK. 

1. P. to K. s 4th. 1. p. to K.'s 4th. 

2. P. to K. B.'s 4th. 2. P. takes P. 

3. K. B. to Q. B.'s 4th. 3. Q. to K. E.'s 5th. Ch. 
Your move of the B. to Q. B.'s 4th at this point con- 
stitutes the K. B.'s Gambit, one of the most complex and 
ingenious variations of the King's Gambit known. 

Black's best reply at move 3 is to Check with his Queen 
as he thus forces your K. to move, and deprives you of 
the right to Castle. 

4. K. toB.'ssq. 4. P. to K. Kt.'s4th (best). 

5. Q. Kt. to B.'s 3rd. 5. K. B. to K. Kt. s 2nd. 
For the result of your^playing 5. K. Kt. to B.'s 3rd. see 

Variation I. 

6. P. to Q.'s 4th. 6. P. to Q.'s 3rd. 
You may also play 6. P. to K. Kt.'s 3rd. 

7. P. to K.'s 5th. 7. P. takes P. 

8. Q. Kt. to Q.'s 5th. 8. K. to Q.'s sq. 



TEXT BOOK. 



125 



By playing your Kt. to Q.'s 5th. you force him to move 
his K. or lose the Q. B.'s P. 

^HITE. BLaCX. 

9. P. takes P. 9. Q. B. to Q.'s 2nd. 

Taking the P. with his B. would be riiinons to him. 

10. K. Kt. to B.'s 3rd. 10. Q. to K. E.'s 1th. 

11. Q. B. to Q.'s 2nd. 11. K. Kt. to K.'s 2nd. 
Playing your Q. B. to Q."s 2nd is a highly ingenious 

move. If. in reply. Black play 11. P. to Q. B. s 3rd : 11. 
P. to K. E.'s 3rd : or. 11. Q. Kt. to B.'s 3rd. you can obtain 
a decided advantage in position. 

12. Q. B. to his 3rd. 12. K. E. to K.'s sq. 

13. Kt. takes Kt. 13. E. takes Kt. 

14. Q. to her 5th. 

The game is about equal. 

VARIATION I. 

Beginning at White's 5th move : — 

WHITE. BLACX. 

5. K. Kt. to B.s 3rd. 5. Q. to K. E."s 4th. 
Playing the K. Kt. out thus early is not thought to be 

ciuite so strong as developing your game on the Q.'s side. 
If Black, in reply, venture to move his Q. to K. Kt.'s 5th. 
you can take the K. B. P. with your B.. and if he take the 
B. you gain his Q. by playing Kt. to K.'s 5th. Ch.. v^cc. 

6. P. to K. E.'s 4th. 6. K. B. to K. Kt.'s 2nd. 

7. K. to Kt.'s sq. 7. B. to Q.'s 5th. Ch. 

8. K. to E.'s 2nd. 8. P. to K.'s Kt. Ch. 

9. Kt. takes B. 9. P. to Kt.'s 6th. Ch. 
10. K. to E.'s 2nd. 10. P. to Q.'s 4th. Dis. Ch. 

And Black has by far the better game. 

VARIATION II. 

Beginning at White's 6th move : — 

^HITE. BLACX. 

1. P. to K.'s 4th. 1. P. to K.'s 4th. 

2. P. to K. B.'s 4th. 2. P. takes P. 



126 



THE CKESS-PLAYEK'S 



3. K. B. to Q. B.'s 4th. 3. Q. to K. R.'s 5th. Ch. 

4. K. to B.'s sq. 4. P. to K. Kt.'s 4th. 

5. Q. Kt. to B.'s 3rd. 5. K. B. to K. Kt.'s 2nd. 

6. P. to K. Kt.'s 3rd. 6. P. takes P. 

This move of P. to K. Kt.'s 3rd is a daring innovation of 
Mr. M'Donnell's. It is full of peril, but, if not met 
by very sound and cautious play, it gives you an over- 
whelming attack. 

7. K. to Kt.'s 2nd. 7. Q. to K. R.'s 3rd. 

He retires his Q., fearing she might be lost by your 
taking the P. with P.. and thus opening an attack from 
your K. R. 

8. P. takes P. 8. Q. to K. Kt.'s 3rd. 
Black has the better position. 



TEXT BOOK. 



127 



The preceding sketch of the chief openings is neces- 
sarily so limited that it can afford jou but a faint 
idea of their almost inexhaustible resources. It will 
serve, however, if fully mastered, to qualify you for a 
more extended course of study, both as regards those 
debuts we have touched on, and the several others, such 
as the games on the Queen's side, which want of space 
obliges us to omit. We shall only add to it, as a pleasant 
and pertinent conclusion, the following 

CAUTIONS TO CHESS'PLAYERS, 

For which we are indebted to a late number of the 
Quarter!?/ Revieu: : — 

1st. Chess not until the business of the day is fairly 
done, and you feel that you have earned your amuse- 
ment. 

''2nd. Chess not in mixed society, when it is likely that 
your antagonist or yourself will be missed from the circle 
by either hostess or company. 

••3rd. Chess not with persons much older than yourself, 
when you feel sure that you can beat them, but not sure 
that they will relish it. 

"4:th. Chess not with your wife unless you can give 
her odds, and then take care rather to overmatch yourself. 

5th. Play not into the 'small hours,' lest the business 
of the next day should suffer from scanty rest or late 
rising. 

" 6th. Do not commend your adversary's play when you 
have won, or abuse your own when you have lost. You 



128 THE ciiks^-player's text book. 

are assuming in the fii'st place, and detracting in the 

second. 

"Tth. Strive to have no choice as to board or pieces. See: 
but if you have any never mention it after a defeat. 

■• And. lastly, idolise not chess. It is simply a recrea- 
tion, and only to be regarded as such. The less selfish 
you are in its pursuit, the more patience, the better 
temper, you bring to the practice of it. the better you will 
illustrate its merits as the most intellectual of games, and 
establish your character as a philosopher even in sport." 



THE END. 



NOTICE. 



In consequence of complaints being made, by intending 
purchasers having inferior quality Chessmen foisted upon 
them, as the same article as the Staunton Chessmen, the 
manufacturers of the only genuine sets respectfully beg 
that the Chess-playing Public in purchasing their Chess- 
men, will observe that ]Mr. Staunton's signature is printed 
on every box in which the men are sent out. thus — 




and that without such signature no set is genuine, or in 
any way either authorised to be sold under Mr. Staunton's 
name, or equal in quality to the real article. 

Imitation, as the old saying says, is the sincerest form 
of flattery, and it is therefore scarcely to be wondered 
at that these Chessmen which have, by their efficiency, 
become known to Chess-players throughout the whole 
civilised world, should be imitated by jealous and dishonest 
dealers, who in offering cheap sets of Chess of somewhat 
similar pattern, and in many cases of Foreign origin, en- 
deavour to profit by the popularity rightly accorded to 
the Eeal Staunton Men. 

SOME ADVANTAGES of the STAUNTON CHESSMEN. 

1. Elegance of shape combined with practical ntiliry. 
- . 2. Distinctness of pattern. Each piece being represented by a symbol 
suited to its name and valne. . 

3. Solidity, caiiseil by the hirge diameter of the bases. These are made- 
larger than any other Chessmen, and. will be found ro measure full the size 
shewn against each set. jiot the Xing only, bnt each piece in prop«yL'tion- 

4. Durability. With care they., will last, a, lifetime. Every portion, 
even down to the Maltese Cross on the Kings, being designed to withstand 
all ordinaiy wear without breaking. 

5. The bases being lined with green cloth, all npisef br ^rSdhing on . 
the boai'ds when moving the pieces is prevented. — ' 

K 



THE STAUNTON CHESSMEN. 




These celebrated Chessmen have now become the only recognised 
pattern amongst all players of tlie game. Their elegant fornf, designed so 
as not to obscure tlie view of otlier pieces on the board, their nice 
adaptation to the hand, and tlieir justly indicated value in relation to each 
other, givethem a decided superiority over any others yet produced. 



No. £ s. d. 

XXX, Ebony and Boxwood, small size, in Maliogany box, lined u 12 6 

Base of King, l^in. diameter. Height, 2f in. 
000, Ebony and Boxwood, in polished Malioganv box, Velvet 

lined \ .. .. 15 

Base of King, If in. diameter. Height, 3in. 
00, Ebony and Boxwood, large size, in polished Maliogany 

box. Velvet lined \ 17 6 

Base of King, If in. diameter. Height, 3^in. 
0, Ebony and Boxwood, loaded with lead, superior finish, in 

Mahogany case 15 

Size.— Same size as No. 00. 
1j^, Ebony and Boxwood, loaded with lead, small size Club, in 

Mahogany case 1 15 

Base of King, l|in. diameter. Height, 3|in. 

2, Ebony and Boxwood, loaded with lead, Club size, in 

strong Mahoganj' case 2 5 

Base of King, 2in. diameter. Height, 4^in. 

3, Finest African Ivory, in Leather Casket, Velvet lined . . 4 4 

Base of Kiiig, If in. diameter. Height. 2^in. 

4, Finest African Ivory, in Velvet-lined Leather Casket . . 6 6 

Base of King, If in. diameter. Height, 3^in. 
4^, Finest African Ivory, small size Club, in richly lined 

Leather Casket . . 8 8 

Base of King, l|in. diameter. Height, 3|in. 

5, Finest African Ivorv, Club size, in extra large, richlv lined 

Silk Velvet, Leather Casket . . 10 10 

Base of King, 2in. diameter. Height, 4|in. 

6, Ditto, in handsome polished wood case, fitted in trays with 
divisions, lined throughout with rich Silk Velvet . . 11 15 



These Sets may be had, if preferred, In polished wood cases lined Velvet 



"Combining grace and solidity to a degree hitherto unknown."— T?ie Times 



Presentation Sets, with Board to match, £5 58. and £16 i6s. 



SOLE MAKEKS : 

JAQUES & SON, HATTON GARDEN, EX., 

A7id of all Dealers. Special Terms to Cluhs. 



CHESS BOARDS. 

241n.22in.20in. ISin. 16in. Board. , 



SIZES OF SQUARES. 



Ifin. 



2!n. 



2iin. 



The Diagram slioics the exact size of squares in the different sized 
hoards, as marked. TJie 16in. to 22iri. represent leather on millljoard or 
mahogany hoards; tlie 24in. icood hoards only. 

The following table will prove useful in selecting the most appro- 
priate Boards to suit tke various sizes of the Staunton Chessmen. 



WOOD STAUXTOX. Xo. 


XXX 


000 


00 







2 


Folding Leather, with black and 

bufE squares 

Do. with red and buff squares 
Flat Mahogany, polished, for Club 

Do. superior, panelled boards, 
for Club use 


s. d. 

4 3 

5 3 

9 
13 6 


s. d. 

4 9 
6 

11 6 

17 


s. d. 

6 

7 6 

13 6 
20 


s. d. 

6 

7 6 

13 6 
20 


s. d. 

8 6 

9 9 

24 


S.d. 

9 6 
12 

27 


IVORY STAUXTOX. Xo. 


3 


4 




5 


6 


8 


Folding Leather, best elegant 
quality', made to match the 

Mahogam', best quality . . 
Rosewood do. . . 


10 6 


14 


17 6 


24 


27*0 


36 



CHESSMEN. 




ENGLISH 



PATTERN. 

Polished, per set.j 



No. 00. 


Hardwood 


... 1/0 


„ 0, 


ditto 


... 1/6 


„ 1, 


ditto 


... 2 6 


2, 


ditto 


. 3/0 


„ 3. 


ditto 


... 3/6 


„ 4, 


ditto 


... 4/6 


„ 5, 


ditto 


... 5/6 


„ 6, 


ditto 


6/6 


„ 7, 


ditto 


... 7/6 



STAUNTON PATTERN. 

Superior (}iiality French polished, 
IMahogany Boxes. 



No. 1, 
No. 2. 

No. 3. 
No. 4, 
No. 5. 
No. 6, 
No. 7. 
Xote.- 
fo 



Boxwood 
ditto 
ditto 
ditto 
ditto 
ditto 
ditto 



Clothed, per set. 



3 
40 
60 
76 
106 
140 
18/0 



TJip.'^e must not be mistalcen 
the real Staunton Criess. 



The Edinboro' Club Pattern Chessmen 

EBONY AND BOXWOOD, FRENCH POLISHED. 



Per set. 

No. 1. in box complete 10 
No. 2. ditto 12 6 

No. 3. ditto 15;0 



Per set. 

No. 4. in box complete 18/6 
Solid Ivorv. in best 

box £3 7s. 6d. 



Dublin Club Pattern, same Prices as Edinboro'. 



The St- George's Club Pattern 
Chessmen. 

Ebony and Boxwood. French polished, in box £ s. d. 

complete, 15 

Ebony and Boxwood, loaded 1 10 

Ditto ditto largest size ... 1 16 



THE WHITTINGTON 
CHESS BOARD. 

WITH FOLDING FLAPS AND BONE MEN* 




6 inch. lOs. 6d. 8 inch. 14s, 10 inch. 20s, 
12 inch. 26s. 

Slide Lid. 7 inch. 8s. Ditto. 8 inch, draw out. 12s. 6d. 

RAILWAY 
CHESS BOARDS 

(PEGGED men:. 
Polished Mahog^any. FoIding^. Complete. 




5 inch. 6s. 6d. 8 inch. lOs. 12 inch. 15s. 6d. 

6 inch. 7s. 6d. 10 inch. 12s. U incL 21s. 



NEW PORTABLE B.C.D. BOARD 

For Backgammon. Chess, or Draughts, for playing with 
Men. Cups and Dice the three games, the whole occupying 
the space of a telescope. 8 in. by 1| in. 

PRICE - - 12s. 6d., complete. 



THE **VADE MECUM" 

Collapsible Chess Board. 




PRICE, complete in Cloth Case, 5s. 



The above has been introduced to supply Chess-players 
with a cheap Chess Board that is sufficiently large to be 
used with ordinary sized Chessmen (as Xos. xxx or 000 
Staunton), and that can be easily' packed away into a small 
space. It measures 16in. when open, and shuts up into a 
case measuring about Hin square, forming a firm board 
that may be used without a table, or for playing in a 
railway carriage. For travelling it will prove itself 
specially useful, and can be easily packed into handbag 
or portmanteau. 




DOMIHOES. 



6 



These may he 
Jiad u'ith Brass 
'Rivets or Brass 
Centre Pivots. 

DOUBLE SIXES. ^ j, 

No. 0, superior quality in white wood boxes ... 10^ 

:k : " ::: II 

;: 3. ;: :: - i ^ 

BEST QUALITY, POLISHED. 

No. 5, in mahogany boxes 2 9 

„ 6, „ " ::: ... s o 

,. 7, „ " ... 3 6 

DOUBLE NINES. 

No. 0, superior quality, in white wood boxes ... 1 ^ 

„ 1, " " " "... 2 6 

2, „ " " ... 3 

3, V " " ... 4 

BEST QUALITY. ^ ^ 

No. 5, in mahogany boxes ... ••• - ••• 5 q 
„ 6, » " ■ ... 5 6 

„ 7, „ " • ;;; ... e 6 

tL Fxtra Large Club Sets, polished, fitted in superior 

No. 9, double sixes,... ^ • gg, ed. 

„ 9. double nines, 

All Bone, Best Quality, in fall front boxes- 

EbC Smoes with'Lll bS:L Walnut Wood fall 
EOOny l^omino^^ ^^^^^ ^^^^^^^ ^^^^^^ ^4s_ 



J. JAQUES & SON, 

102, HATTON GARDEN, 

BoUn Hood YarTHa tton Ga rden. LONDON, E.C., 

MANUFACTURERS OF 

CROQUET, CHESSMEN, 

LAWN TENNIS, BILLIARDS, 

CRICKET, BAGATELLE, 

BOWLS, CARD GAMES, 

ARCHERY, COMPENDIUMS, 

^ LOFTING,^ LOTOS, 

RO YDON,^^ PU ZZLES, 

QUOITS, DOMINOES, 

AND ALL OTHER 

INDOOR AND OUTDOOR GAMES. 

Sole Makers of 
The Staunton^ Chessmen, 
**in Statu Quo^^ Chess Beards, 
Portable B.C.D. Boards, 

Table Billiards, Halma, Tiddledy Winks, &cc* 
Sole AVholesale Agents of 
ECLIPSE TENNIS MARKERS, 

**FIFE" GOLF CLUBS & BALLS, 

ECLIPSE RACKET PRESS, &c. 



FIVE PRIZE MEDALS AWARDED, 

FULL CATALOGUE ON APPLICATION. 



i 

i 

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